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PRO Series Live Audio Systems
Owner’s Manual
Midas Klark Teknik Limited,
Klark Industrial Park,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel: +44 1562 741515
Fax: +44 1562 745371
Email: info@midasklarkteknik.com
Website: www.midasconsoles.com
PRO Series Live Audio Systems — Owner’s Manual
DOC02-PROSERIES Issue A — September 2010
© Red Chip Company Ltd.
In line with the company’s policy of continual improvement, specifications and function may be
subject to change without notice. This Owner’s Manual was correct at the time of writing. E&OE.
IMPORTANT SAFETY INSTRUCTIONS
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 product.
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
manufacturer’s 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
has been 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.
15 Use the mains plug to disconnect the
apparatus from the mains.
16 Warning: To reduce the risk of fire or
electric shock, do not expose this
apparatus to rain or moisture.
17 Warning: Do not expose this
equipment to dripping or splashing
and ensure that no objects filled with
liquids, such as vases, are placed on
the equipment.
18 Warning: The mains plug of the power
supply cord shall remain readily
operable.
INSTRUCTIONS DE SÉCURITÉ IMPORTANTES
Le symbole représentant un éclair fléché dans un triangle équilatéral a pour but
d'alerter l'utilisateur de la présence d'une "tension dangereuse" non isolée à
l'intérieur du boîtier, pouvant être d'une force suffisante pour constituer un risque
d'électrocution.
Le point d'exclamation dans un triangle équilatéral a pour but d'alerter
l'utilisateur de la présence d'instructions importantes concernant le
fonctionnement et la maintenance, dans la documentation qui accompagne
l'appareil.
1 Veuillez lire ces instructions.
2 Conservez ces instructions.
3 Respectez toutes les consignes de
sécurité.
4 Suivez scrupuleusement toutes les
instructions.
5 N'utilisez pas cet appareil près d'un point
d'eau.
6 Utilisez uniquement un chiffon sec pour le
nettoyer.
7 N'obstruez aucune des ouïes de
ventilation. Installez-le en respectant les
instructions du fabricant.
8 Ne l'installez pas près de sources de
chaleur tels que radiateurs, panneaux
chauffants, étuves, ou autres appareils
produisant de la chaleur (dont les
amplificateurs).
9 Ne pas utiliser d'adaptateur pour
supprimer la prise de terre des prises à
trois fiches. Si la prise fournie ne peut pas
être branchée dans la prise électrique,
adressez-vous à un électricen qui
remplacera la prise obsolète.
10 Protégez le cordon secteur afin que l'on ne
marche pas dessus et qu'il ne soit pas
pincé, surtout au niveau des prises, ou à
l'endroit où il sort de l'appareil.
11 Utilisez exclusivement des fixations et des
accessoires recommandés par le fabricant.
12 Utilisez l'appareil uniquement
avec le chariot, le trépied, le
support ou la table spécifiés
par le fabricant, ou vendus
avec l'appareil. Si un chariot
est utilisé, prenez toutes les précautions
nécessaires lorsque vous devez déplacer
l'ensemble (chariot et appareil) afin qu'ils
ne se renversent pas.
13 Débranchez l'appareil en période d'orage
ou s'il doit rester inutilisé pendant
longtemps.
14 Confiez toutes les réparations et
interventions à un personnel qualifié. Une
intervention est nécessaire si l'appareil a
été endommagé d'une façon ou d'une
autre, si son cordon ou sa prise secteur
ont été endommagés, si du liquide a été
renversé ou si des objets sont tombés à
l'intérieur, ou encore si l'appareil a été
exposé à la pluie ou à l'humidité, s'il ne
fonctionne pas normalement, ou s'il est
tombé.
15 Débrancher l'appareil du réseau électrique
par la prise de secteur.
16 Avertissement : afin de réduire le
risque d'incendie ou de choc
électrique, ne pas exposer cet
appareil à la pluie ou à de l'humidité.
17 Avertissement : n'exposez pas cet
équipement aux éclaboussures et
veillez à ce qu'aucun récipient rempli
de liquide, verre ou vase, ne soit posé
dessus.
18 Avertissement : la prise secteur doit
toujours rester directement
accessible.
PRO6 EC-Declaration of Conformity
Midas
DOC04-PRO3ECDOC Rev. A
EC-Declaration of Conformity
The undersigned, representing the following manufacturer
Manufacturer: Address:
Midas Klark Teknik Ltd. Klark Industrial Park, Walter Nash Road,
Kidderminster. Worcestershire. DY11 7HJ.
hereby declares that the following product
Product Type Number Product Description Nominal Voltage(s) Current Freq.
PRO3 Control Centre
115V AC
230V AC
2.9A
1.5A
50/60Hz
is in conformity with the regulations of the following marked EC-directives and bears the
-mark accordingly
reference number title
2004/108/EC EMC Directive (EMC)
2006/95/EC Low-Voltage Directive (LVD)
The conformity of the product with EC Directives for use in environment E4 is provided by compliance with
the following standards:
Standards/date:
Applied Electrical Safety test standards:
reference number title
EN 60065:2002
Audio, video and similar electronic apparatus. Safety requirements.
Applied EMC emission test standards:
ref. no. title
EN 55103-1:1996
Class A
EN 55103-1 Annex A: Radiated
magnetic disturbance, 50Hz-50kHz
CISPR 22: Radiated disturbance,
30-1000MHz
CISPR 22: Conducted disturbance,
ac & signal ports
CISPR 16: Discontinuous
disturbance
EN 61000-3-2:2000 Mains
harmonics
EN 61000-3-3:1995 Mains voltage
flicker
Applied EMC immunity test standards:
ref. no. title
EN 61000-4-2:1995 Electrostatic
discharge
EN 55103-2:1996
Class A
EN 61000-4-3:1996: Radiated RF
disturbance, 80-1000MHz
EN 55103-2 Annex A: Magnetic LF
disturbance, 50Hz–10kHz
EN 61000-4-4:1995: Fast transient
bursts, ac & signal ports
EN 61000-4-5:1995: Surge, ac port
EN 61000-4-6:1996: Conducted RF
field, ac & signal ports
EN 61000-4-11:1994: Mains voltage
dips and interruptions
Place, date: Kidderminster, UK
18th August 2010
General Manager AVP, Product Development
Printed name: John Oakley Printed name: Alex Cooper
PRO6 EC-Declaration of Conformity
Midas
DOC04-PRO6ECDOC Rev. B
EC-Declaration of Conformity
The undersigned, representing the following manufacturer
Manufacturer: Address:
Midas Klark Teknik Ltd. Klark Industrial Park, Walter Nash Road,
Kidderminster. Worcestershire. DY11 7HJ.
hereby declares that the following product
Product Type Number Product Description Nominal Voltage(s) Current Freq.
PRO6 Control Centre
115V AC
230V AC
2.9A
1.5A
50/60Hz
is in conformity with the regulations of the following marked EC-directives and bears the
-mark accordingly
reference number title
2004/108/EC EMC Directive (EMC)
2006/95/EC Low-Voltage Directive (LVD)
The conformity of the product with EC Directives for use in environment E4 is provided by compliance with
the following standards:
Standards/date:
Applied Electrical Safety test standards:
reference number title
EN 60065:2002
Audio, video and similar electronic apparatus. Safety requirements.
Applied EMC emission test standards:
ref. no. title
EN 55103-1:1996
Class A
EN 55103-1 Annex A: Radiated
magnetic disturbance, 50Hz-50kHz
CISPR 22: Radiated disturbance,
30-1000MHz
CISPR 22: Conducted disturbance,
ac & signal ports
CISPR 16: Discontinuous
disturbance
EN 61000-3-2:2000 Mains
harmonics
EN 61000-3-3:1995 Mains voltage
flicker
Applied EMC immunity test standards:
ref. no. title
EN 61000-4-2:1995 Electrostatic
discharge
EN 55103-2:1996
Class A
EN 61000-4-3:1996: Radiated RF
disturbance, 80-1000MHz
EN 55103-2 Annex A: Magnetic LF
disturbance, 50Hz–10kHz
EN 61000-4-4:1995: Fast transient
bursts, ac & signal ports
EN 61000-4-5:1995: Surge, ac port
EN 61000-4-6:1996: Conducted RF
field, ac & signal ports
EN 61000-4-11:1994: Mains voltage
dips and interruptions
Place, date: Kidderminster, UK
14th June 2010
General Manager AVP, Product Development
Printed name: John Oakley Printed name: Alex Cooper
PRO9 EC-Declaration of Conformity
Midas
DOC04-PRO9ECDOC Rev. A
EC-Declaration of Conformity
The undersigned, representing the following manufacturer
Manufacturer: Address:
Midas Klark Teknik Ltd. Klark Industrial Park, Walter Nash Road,
Kidderminster. Worcestershire. DY11 7HJ.
hereby declares that the following product
Product Type Number Product Description Nominal Voltage(s) Current Freq.
PRO9 Control Centre
115V AC
230V AC
2.9A
1.5A
50/60Hz
is in conformity with the regulations of the following marked EC-directives and bears the
-mark accordingly
reference number title
2004/108/EC EMC Directive (EMC)
2006/95/EC Low-Voltage Directive (LVD)
The conformity of the product with EC Directives for use in environment E4 is provided by compliance with
the following standards:
Standards/date:
Applied Electrical Safety test standards:
reference number title
EN 60065:2002
Audio, video and similar electronic apparatus. Safety requirements.
Applied EMC emission test standards:
ref. no. title
EN 55103-1:1996
Class A
EN 55103-1 Annex A: Radiated
magnetic disturbance, 50Hz-50kHz
CISPR 22: Radiated disturbance,
30-1000MHz
CISPR 22: Conducted disturbance,
ac & signal ports
CISPR 16: Discontinuous
disturbance
EN 61000-3-2:2000 Mains
harmonics
EN 61000-3-3:1995 Mains voltage
flicker
Applied EMC immunity test standards:
ref. no. title
EN 61000-4-2:1995 Electrostatic
discharge
EN 55103-2:1996
Class A
EN 61000-4-3:1996: Radiated RF
disturbance, 80-1000MHz
EN 55103-2 Annex A: Magnetic LF
disturbance, 50Hz–10kHz
EN 61000-4-4:1995: Fast transient
bursts, ac & signal ports
EN 61000-4-5:1995: Surge, ac port
EN 61000-4-6:1996: Conducted RF
field, ac & signal ports
EN 61000-4-11:1994: Mains voltage
dips and interruptions
Place, date: Kidderminster, UK
18th August 2010
General Manager AVP, Product Development
Printed name: John Oakley Printed name: Alex Cooper
Licences
The following are the license agreements applicable to the Midas Digital Equipment.
End-User Licence Agreement for Midas™ and Klark Teknik™ Software
IMPORTANT - Please read this document carefully before using this Midas™ or
Klark Teknik™ Product. This is an agreement governing your use of software or
other machine instructions already installed on this Midas™ or Klark Teknik™
Product, as well as other software that we provide for installation on this Product.
The Midas™ or Klark Teknik™ Product will not operate in accordance with its
documentation without this software.
THIS AGREEMENT ("AGREEMENT" OR "LICENCE") STATES THE TERMS AND CONDITIONS UPON WHICH
MIDAS KLARK TEKNIK LIMITED ("COMPANY") OFFERS TO LICENSE THE INSTALLED FIRMWARE,
SOFTWARE AND/OR PROGRAMS ("the SOFTWARE") WITH THE MIDAS™ OR KLARK TEKNIK™ CONSOLE
OR SIGNAL PROCESSING PRODUCT ("PRODUCT") IN WHICH IT HAS BEEN INSTALLED BY, OR FOR
WHICH IT IS PROVIDED BY, THE COMPANY. BY USING THIS PRODUCT YOU WILL BE AGREEING TO
BECOME BOUND BY THE TERMS OF THIS LICENCE. IF YOU DO NOT AGREE TO THE TERMS OF THIS
LICENCE, DO NOT USE THIS PRODUCT AND PROMPTLY RETURN THE PRODUCT TO THE PLACE WHERE
YOU OBTAINED IT FOR A FULL REFUND. You agree to notify any persons whom you permit to operate
this Product of the terms of this Licence, and to require them to comply with these terms.
The Software is licensed, not sold, to you for use only under the terms of this Licence, and the
Company reserves all rights not expressly granted to you. The Company retains ownership of all copies
of the Software itself, and all proprietary parts of it, including those stored on or in the Product.
1. Licence: Subject to the terms and conditions of this agreement, the Company grants you, and
other persons you permit to operate the Product, a personal, limited, non-exclusive,
non-transferable licence to use the Software only on the single Product unit in which it has been
installed.
2. Restrictions: (a) The Software, and the accompanying written materials, are copyrighted and
contain trade secrets and other proprietary matter, including confidential information relating to
the specifications and performance characteristics of this Product. Save for such elements as
may be licensed to the Company, as described in paragraph 5, all rights to copyrights, trade
marks and trade secrets in the Software, or any modifications to it, are owned by the Company.
Unauthorised use or copying of the Company's proprietary Software, or any portion thereof, or
copying of those written materials, is prohibited. (b) You may not create, market, distribute, or
transfer copies of the Company's proprietary Software, or any part of it, to others, or duplicate,
rent, lease or loan that Software, or any part of it, except that you may transfer that Software
installed in this Product in conjunction with the sale, transfer, loan, rent or lease of this Product,
and subject at all times to this Licence. YOU MAY NOT REVERSE ENGINEER, DECOMPILE,
DISASSEMBLE, EXTRACT OR SEPARATE OUT, MODIFY, ADAPT, PORT, OR TRANSLATE THE
SOFTWARE, DERIVE THE SOURCE CODE OF THE SOFTWARE OR CREATE DERIVATIVE WORKS
BASED ON THE SOFTWARE OR ANY ACCOMPANYING WRITTEN MATERIALS, save as is allowed by
licences pertaining to component parts of the Software which are licensed by third parties, as
described under paragraph 5, or otherwise by law. (c) In the event you violate any term of this
Licence, all rights granted herein will automatically and immediately terminate and you must stop
using the Software and destroy any copies of the Software.
3. Limited Warranty: Subject to your installation of any Software updates issued by the Company
as described herein, and the condition below, the Company warrants that the Software will
operate in compliance with the Software's material specifications and documentation for a period
of 90 days from your purchase of this Product. The Software is provided "as is" and the Company
does not warrant that the operation of the Software will meet your requirements or operate free
from error. To the greatest extent permissible by law, the Company DISCLAIMS ALL
WARRANTIES AND CONDITIONS, EITHER EXPRESS OR IMPLIED, INCLUDING THE WARRANTIES
OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, NON-INFRINGEMENT OF THIRD
PARTY RIGHTS OR CAPABILITY OF CORRECTLY PROCESSING PROVIDING AND/OR RECEIVING
DATE INFORMATION. You understand that the Company may update or revise the Software but
in so doing incurs no obligation to furnish such updates to you. However, the Company may in its
discretion make updates available from time to time upon such terms and conditions as it shall
determine. It is a condition of the above warranty that you install any such Software updates, as
may be issued from time to time by the Company for the Software, in accordance with the
Company's instructions, and if you do not do so such warranty will cease to apply. You may view
current Software updates at http://www.klarkteknik.com and http://www.midasconsoles.com.
4. Limited Liability: THE ENTIRE RISK ARISING OUT OF YOUR USE OR PERFORMANCE OF THE
SOFTWARE REMAINS WITH YOU. THE LIABILITY OF THE COMPANY FOR ANY CLAIMS ARISING
OUT OF THIS LICENCE AND/OR BASED UPON THE SOFTWARE, REGARDLESS OF THE FORM OF
ACTION, AND INCLUDING WORK STOPPAGE, PRODUCT FAILURE OF MALFUNCTION OR ANY
OTHER COMMERCIAL LOSS OR DAMAGE, SHALL NOT EXCEED THE COST OF THE LICENCE FEE
FOR THE SOFTWARE OR THE COST OF THIS PRODUCT. SUBJECT TO THE PROVISIONS OF
APPLICABLE LAW, IN NO EVENT SHALL THE COMPANY BE LIABLE FOR ANY LOSS OF DATA, LOST
OPPORTUNITY OR PROFITS, COST OF COVER OR SPECIAL, INCIDENTAL, CONSEQUENTIAL, OR
INDIRECT DAMAGES, EVEN IF YOU ADVISE THE COMPANY OF THE POSSIBILITY OF SUCH
DAMAGES. THIS IS A FUNDAMENTAL TERM OF THIS AGREEMENT AND YOU ACKNOWLEDGE
THAT THE AMOUNT YOU PAID FOR THE SOFTWARE AND/OR THE PRODUCT REFLECTS THIS
ALLOCATION OF RISK. NOTHING IN THIS PARAGRAPH PURPORTS TO EXCLUDE OR LIMIT THE
COMPANY'S LIABILITY FOR DEATH OR PERSONAL INJURY CAUSED BY NEGLIGENCE OR ANY
OTHER LIABILITY WHICH CANNOT BE EXCLUDED OR LIMITED BY LAW.
5. Other Third-Party Computer Programs: As referred to herein, the term "Software" refers
only to proprietary Midas™ or Klark Teknik™ software, owned by the Company, that has been
provided to you for installation on, or already installed in, a Product. In addition to the Software,
you may have also been provided, at no additional charge, with a version of the widely-available
GNU Linux Operating System, which is a modular operating system made up of hundreds of
individual software components, each of which was written, and the copyright and other rights in
which are owned individually, by various parties (collectively, "the GNU Linux Programs"). Each
component has its own applicable end user licence agreement, and many of these agreements
permit you to copy, modify, and redistribute the applicable software, but you must review the
on-line documentation that shares a directory or otherwise accompanies each of the GNU Linux
Programs provided to you for the specific terms and conditions. Nothing in this Licence limits
your rights under, or grants you rights that supersede, the terms of any other applicable end user
licence agreement. If you wish to receive a computer-readable copy of the source code for any
of the GNU Linux Programs that have been provided with your Midas™ or Klark Teknik™ Product,
send a cheque or money order (no cash accepted), your address and [£10.00] to cover the cost
of optical media, postage and handling, to:
Midas Klark Teknik Limited
ATTN: Linux Programs CD for Midas™/Klark Teknik™
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
In your request, indicate your Product's name and model number, serial number and
version/release information. In your request, also indicate the relevant Software version/release
information. This offer, made pursuant to the GNU Linux Programs' end user licence agreements,
may expire according to the terms of those agreements, in which case your cheque will be
returned to you or destroyed at our option. Please note that the GNU Linux Programs that may
be available to you under this offer consists of the GNU Linux Operating System components only
and none of the proprietary application software developed by Midas or Klark Teknik is included.
Other updated Linux distributions containing application software are widely available from a
variety of Internet sources, and are often available at minimal or no cost.
6. Termination: This Licence will terminate immediately if you violate any of the Licence terms.
Upon termination you must discontinue use of the Software, and either destroy, erase or return
to Company all copies of the Software in your possession, custody or control, including those in
or on the Product.
7. General: This Licence constitutes the entire agreement between you and the Company with
respect to this Software and, save in the case of fraud, supersedes any other communication
(including advertising). Company reserves all rights not expressly granted to you in this licence.
If any provision of this Licence is held unenforceable, that provision shall be enforced to the
maximum extent permissible so as to give effect the intent of this Licence, and the remainder of
this Licence shall continue in full force and effect. This Licence shall be governed by English law
and the Courts of England and Wales will have exclusive jurisdiction to hear and decide any
dispute concerning it or its formation. No breach by you of any provision of this Licence shall be
waived or discharged except with the express written consent of the Company and no failure or
delay by the Company to exercise any of its rights under this Licence shall operate as a waiver
thereof and no single or partial exercise of any such right shall prevent any other or further
exercise of that or any other right. You acknowledge that the Company could be irreparably
damaged if the terms of this Licence were not specifically enforced, and agree that the Company
may seek appropriate equitable remedies with respect to breaches of this Licence, including
injunctive relief, in addition to such other remedies as the Company may otherwise have
available to it under applicable laws.
GNU General Public License (GPL)
For details of the Third Party Software License Attribution, Copyright and Terms and Conditions and
Notices, and the GNU LESSER GENERAL PUBLIC LICENSE, see the Midas Digital Equipment GNU
General Public License (GPL) Booklet part number DOC04-GPL issue A.
xvii
PRO Series Live Audio Systems
Owner’s Manual
Precautions
Before installing, setting up or operating this equipment make sure you have read and
fully understand all of this section and the “IMPORTANT SAFETY INSTRUCTIONS” at the
front of this document.
This equipment is supplied by a mains voltage that can cause electric shock injury!
The following must be observed in order to maintain safety and electromagnetic compatibility (EMC)
performance.
Safety warnings
Signal 0V is connected internally to the
chassis.
To completely isolate this equipment from
the AC mains, while observing full safety
precautions (see “Power”), switch off the
isolator switch (above the mains power
sockets on rear of control centre) and then
switch off the mains at the three mains
outlets. Unplug the three mains leads from
the rear of the control centre.
To avoid electrical shock do not remove
covers.
General precautions
In the event of ground loop problems,
disconnect the signal screen at one end of the
connecting cables. Note that this can only be
done when the equipment is used within a
balanced system.
Do not remove, hide or deface any warnings or
cautions.
Power
The power supplies contain LETHAL VOLTAGES
greatly in excess of the mains voltage and its
rails can produce extremely large currents that
could burn out equipment and wiring if shorted.
The internal power supplies are of the switch
mode type that automatically sense the
incoming mains voltage and will work where the
nominal voltage is in the range 100VAC to
240VAC.
Each mains inlet is to be sourced from its own
separate wall-mounted mains outlet socket.
Otherwise, their mains sources must be suitably
distributed so as to meet local safety
regulations.
A Volex locking type plug is fitted on each
supplied mains cable, which plugs into a mains
IEC connector on the equipment. When fitted
properly the Volex plug locks into place,
preventing it from working loose, or being
inadvertently knocked loose or pulled out. To fit
a Volex plug, insert it into the mains IEC
connector and push it in until it locks in place.
Then, check to make sure it is locked in place.
To remove it, release its locking device and then
pull it out. When fitting or removing a Volex
plug, always hold the plug itself and never use
the cable, as this may damage it.
During operation of the control centre, a
minimum of two of its three mains inlets must
be connected and supplying power.
When removing the equipment’s electric plugs
from the outlets, always hold the plug itself and
not the cable. Pulling out the plug by the cable
can damage it.
Never insert or remove an electric plug with wet
hands.
Do not connect/disconnect a mains power
connector to/from the control centre while
power is being applied to it. Switch the power
off first.
Before switching the control centre on or off,
make sure that all monitor loudspeaker power
amplifiers are turned off or muted.
xviii Precautions
PRO Series Live Audio Systems
Owner’s Manual
Handling the equipment
Completely isolate the equipment electrically
and disconnect all cables from the equipment
before moving it.
When lifting or moving the equipment, always
take its size and weight into consideration. Use
suitable lifting equipment or transporting gear,
or sufficient additional personnel.
Do not insert your fingers or hands in any gaps
or openings on the equipment, for example,
vents.
Do not press or rub on the sensitive surface of
the GUI screens.
If the glass of the GUI screen is broken, liquid
crystals shouldn’t leak through the break due to
the surface tension of the thin layer and the
type of construction of the LCD panel. However,
in the unlikely event that you do make contact
with this substance, wash it out with soap.
Installation
Before installing the equipment:
• Make sure the equipment is correctly
connected to the protective earth conductor
of the mains voltage supply of the system
installation through the mains leads.
• Power to the equipment must be via a fused
spur(s).
• Power plugs must be inserted in socket
outlets provided with protective earth
contacts. The electrical supply at the socket
outlets must provide appropriate
over-current protection.
• Both the mains supply and the quality of
earthing must be adequate for the
equipment.
• Before connecting up the equipment, check
that the mains power supply voltage rating
corresponds with the local mains power
supply. The rating of the mains power supply
voltage is printed on the equipment.
Location
Ideally a cool area is preferred, away from
power distribution equipment or other potential
sources of interference.
Do not install the equipment in places of poor
ventilation.
Do not install this equipment in a location
subjected to excessive heat, dust or mechanical
vibration. Allow for adequate ventilation around
the equipment, making sure that its fans and
vents are not obstructed. Whenever possible,
keep the equipment out of direct sunlight.
Do not place the equipment in an unstable
condition where it might accidentally fall over.
Make sure that the mains voltage and fuse
rating information of the equipment will be
visible after installation.
Audio connections
To ensure the correct and reliable operation of
your equipment, only high quality, balanced,
screened, twisted pair audio cable should be
used.
XLR connector shells should be of metal
construction so that they provide a screen when
connected to the control centre and, where
appropriate, they should have Pin 1 connected
to the cable screen.
Electrostatic discharge
(ESD) precautions
Observe full electrostatic discharge
(ESD) — also known as “anti-static”
— precautions when carrying out
procedures in this manual that are
accompanied by the ESD Susceptibility Symbol
(shown above). This caution symbol shows you
that ESD damage may be caused to items
unless proper ESD precautions are taken, which
include the following practices:
• Keep the work area free from plastic, vinyl or
styrofoam.
• Wear an anti-static wrist strap.
• Discharge personal static before handling
devices.
• Ground the work surface.
• Avoid touching ESD-sensitive devices.
Radio frequency
interference—Class A
device
This equipment has been tested and found to
comply with the limits for a Class A digital
device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable
protection against harmful interference when
the equipment is operated in a commercial
environment. This equipment generates, uses,
and can radiate radio frequency energy and, if
Precautions xix
PRO Series Live Audio Systems
Owner’s Manual
not installed and used in accordance with the
instruction manual, may cause harmful
interference to radio communications.
Operation of this equipment in a residential area
is likely to cause harmful interference in which
case the user will be required to correct the
interference at his own expense.
Electric fields
Caution:
In accordance with Part 15 of the FCC
Rules & Regulations, “… changes or
modifications not expressly approved by
the party responsible for compliance could
void the user's authority to operate the
equipment.”
Should this product be used in an
electromagnetic field that is amplitude
modulated by an audio frequency signal (20Hz
to 20kHz), the signal to noise ratio may be
degraded. Degradation of up to 60dB at a
frequency corresponding to the modulation
signal may be experienced under extreme
conditions (3V/m, 90% modulation).
Safety equipment
Never remove, for example, covers, housings or
any other safety guards. Do not operate the
equipment or any of its parts if safety guards
are ineffective or their effectiveness has been
reduced.
Optional equipment
Unless advised otherwise, optional equipment
must only be installed by service personnel and
in accordance with the appropriate assembly
and usage regulations.
Special accessories
To comply with part 15 of the FCC Rules, any
special accessories (that is, items that cannot be
readily obtained from multiple retail outlets)
supplied with this equipment must be used with
this equipment; do not use any alternatives as
they may not fulfil the RF requirement.
xx Precautions
PRO Series Live Audio Systems
Owner’s Manual
xxi
PRO Series Live Audio Systems
Owner’s Manual
Recommandations
Avant l'installation, la mise au point ou l'exploitation de cet équipement, veiller à lire
attentivement et à comprendre l'intégralité de ce chapitre et la partie "CONSIGNES DE
SÉCURITÉ IMPORTANTES" au début de ce manuel.
Cet équipement est alimenté par une tension de secteur pouvant provoquer des blessures par choc
électrique !
Les points suivants doivent être observés afin de maintenir la sécurité et une compatibilité
électromagnétique (CEM) correcte.
Avertissements de sécurité
Une tension 0V de signal est raccordée en
interne au châssis.
Afin de déconnecter complètement cet
appareil du secteur CA, tout en observant
les précautions de sécurité (voir
“Puissance”), couper le sectionneur (au-
dessus des prises secteur sur le panneau
arrière du centre de contrôle), puis couper
le secteur aux trois socles de secteur.
Isoler l'appareil en débranchant les trois
câbles de secteur du panneau arrière du
centre de contrôle.
Afin d'éviter un choc électrique, ne pas
retirer les couvercles.
Recommandations
générales
En cas de problème de boucle de terre,
débrancher le blindage de signal à une
extrémité des câbles de raccordement. Il
convient de noter que cela n'est faisable que si
l'équipement est utilisé dans un système
équilibré.
Ne pas retirer, cacher ni dégrader les
avertissements ou les mises en garde.
Puissance
Les alimentations électriques contiennent des
TENSIONS LÉTALES largement supérieures à la
tension de secteur et les barres peuvent
produire des courants extrêmement élevés
capables de griller l'équipement et le câblage en
cas de court-circuit.
Les alimentations électriques internes sont des
alimentations à découpage détectant
automatiquement la tension de secteur d'entrée
et fonctionnant lorsque la tension nominale se
trouve dans la plage de 100 VCA à 240 VCA.
Chaque prise de secteur doit être raccordée à
son propre socle mural séparé. Sans quoi, les
alimentations de secteur doivent être
correctement distribuées conformément aux
réglementations locales de sécurité.
Chaque câble d'alimentation fourni est équipé
d'une fiche Volex verrouillable qui se branche
dans une prise connecteur CEI sur l'appareil.
Lorsqu'elle est montée correctement la fiche
Volex se verrouille dans son logement,
l'empêchant de se desserrer ou d'être
déconnectée par inadvertance. Pour brancher
une fiche Volex, l'insérer dans la prise
connecteur secteur CEI et la pousser jusqu'à ce
qu'elle se verrouille dans son logement. Penser
ensuite à vérifier qu'elle soit correctement
verrouillée. Pour l'enlever, libérer son dispositif
de verrouillage pour ensuite la tirer. Lors de la
connection ou déconnection d'une fiche Volex,
toujours saisir la fiche elle-même et ne jamais
utiliser le câble, car cela pourrait l'endommager.
Pendant le fonctionnement du centre du contrôle
un minimum de deux de ses trois entrées
secteur doivent être connectés et alimentation.
Pour débrancher les cordons d'alimentation de
l'équipement des prises murales, tenir toujours
la prise et non le câble. Tirer la prise par le câble
peut l'endommager.
Ne jamais brancher ni débrancher une prise
électrique avec des mains humides.
Ne jamais brancher/débrancher un connecteur
de secteur au/du centre de contrôle s'il est sous
tension. Mettre d'abord hors tension.
Avant de metre le centre de contrôle ou se
désactiver, assurez-vous que tous les
amplificateurs de haut-parleur de surveiller
l'alimentation sont désactivées ou coupé.
xxii Recommandations
PRO Series Live Audio Systems
Owner’s Manual
Manipulation de
l'équipement
Isoler électriquement et totalement l'appareil et
débrancher tous ses câbles avant de le déplacer.
En soulevant ou en déplaçant l'appareil, tenir
toujours compte de sa taille et de son poids.
Utiliser un dispoitif de levage adapté ou un
matériel de transport, ou encore suffisamment
de personnel supplémentaire.
Ne pas introduire les doigts ni les mains dans les
fentes ni les ouvertures de l'appareil, telles que
les ouïes de ventilation.
Ne pas appuyer ou de frotter sur la surface
sensible des ecrans GUI.
Si le verre de l’écran GUI est cassé, les crystaux
liquids ne doit pas s’infiltrer dans la rupture en
raison de la tension superificielle de la couche
mince et le type de construction de l’écran LCD.
Toutefois, dans le cas improbable où vous ne
prendre contact avec cette substance, le laver
avec du savon.
Installation
Avant d'installer l'équipement :
• Vérifier qu'il est correctement raccordé au
conducteur de terre de protection de
l'alimentation de tension de secteur du
système par les câbles de secteur.
• L'équipement doit être alimenté par
l'intermédiaire de(s) dérivation(s) avec
fusible.
• Les prises doivent être branchées sur des
prises femelles dotées de contacts de terre
de protection. L'alimentation électrique aux
prises femelles doit assurer une protection
adéquate contre la surintensité.
• L'alimentation de secteur et la qualité de la
mise à la terre doivent être d'un niveau
convenant à l'appareil.
• Avant de brancher l'équipement, vérifier que
la tension nominale de l'alimentation de
secteur correspond à l'alimentation de
secteur locale. La valeur nominale de la
tension d'alimentation de secteur est
imprimée sur l'équipement.
Lieu d'installation
L'idéal est de disposer d'une zone fraîche, à
l'écart de tout équipement de distribution
électrique ou d'autres sources potentielles
d'interférences.
Ne pas installer l'équipement dans des endroits
mal aérés.
Ne pas installer cet équipement dans un local
exposé à la chaleur, à la poussière ou à des
vibrations mécaniques excessives. Prévoir une
ventilation adéquate autour de l'appareil, en
s'assurant que les ventilateurs et les ouïes ne
sont pas obstrués. Dans la mesure du possible,
le garder à l'écart de la lumière directe du soleil.
Ne pas placer l'appareil sur un support instable
d'où il pourrait tomber par accident.
S'assurer que les informations relatives à la
tension de secteur et au calibre des fusibles de
l'équipement sont visibles après l'installation.
Connexions audio
Afin d'assurer le fonctionnement correct et fiable
de l'équipement, utiliser uniquement un câble
audio à paire torsadée, blindé, équilibré, de
première qualité.
Les boîtiers de connecteurs XLR doivent être en
métal de façon à former un blindage lors du
raccordement au centre de commande et, le cas
échéant, la Fiche 1 devrait être raccordée au
blindage du câble.
Electrostatic discharge
(ESD) precautions
Observe full electrostatic discharge
(ESD) — also known as “anti-static”
— precautions when carrying out
procedures in this manual that are
accompanied by the ESD Susceptibility Symbol
(shown above). This caution symbol shows you
that ESD damage may be caused to items
unless proper ESD precautions are taken, which
include the following practices:
• Keep the work area free from plastic, vinyl or
styrofoam.
• Wear an anti-static wrist strap.
• Discharge personal static before handling
devices.
• Ground the work surface.
• Avoid touching ESD-sensitive devices.
Recommandations xxiii
PRO Series Live Audio Systems
Owner’s Manual
Interférences
radioélectriques - Dispositif
de Classe A
Cet équipement a été testé et est conforme aux
limites d'un produit numérique de Classe A, en
application de la Partie 15 des Règles de la FCC.
Ces limites sont destinées à assurer une
protection raisonnable contre les interférences
néfastes lorsque l'équipement fonctionne dans
un environnement commercial. Cet équipement
génère, utilise et peut rayonner de l'énergie de
fréquence radio et, s'il n'est pas installé et utilisé
conformément au manuel d'exploitation, il peut
causer des interférences dommageables aux
communications radio. L'utilisation de cet
équipement dans une zone résidentielle est
susceptible de provoquer des interférences
néfastes, dans quel cas l'utilisateur se devra de
corriger les interférences à ses propres frais.
Champs électriques
Attention :
Conformément à la Partie 15 des Règles et
Réglementations de la FCC, "… tout
changement ou toute modification non
expressément approuvé(e) par la partie
responsable de la conformité pourrait
annuler l'autorisation accordée à
l'utilisateur d'utiliser cet appareil. "
Dans le cas où ce produit est utilisé dans un
champ électromagnétique dont l'amplitude est
modulée par un signal audiofréquence (20 Hz à
20 kHz), le rapport signal-bruit peut être
détérioré. Une détérioration atteignant 60 dB à
une fréquence correspondant au signal de
modulation peut se produire dans des conditions
extrêmes (modulation 90%, 3 V/m).
Équipement de sécurité
Ne jamais retirer les couvercles, les boîtiers ni
autres caches de sécurité. Ne pas faire
fonctionner l'appareil ni aucun de ses
composants si les protecteurs de sécurité ne
sont pas en mesure de remplir leur fonction ou
si leur efficacité a été réduite.
Équipement en option
Sauf indication contraire, tout équipement en
option doit être installé uniquement par le
personnel d'entretien et conformément aux
réglementations appropriées de montage et
d'usage.
Accessoires spéciaux
Aux fins de la conformité à la Partie 15 des
Règles de la FCC, tous les accessoires spéciaux
fournis avec cet équipement (à savoir les
articles que l'on ne peut se procurer facilement
auprès des chaînes de détaillants), doivent être
utilisés avec cet équipement ; ne pas utiliser de
composants de remplacement car ils pourraient
ne pas respecter l'exigence de RF.
xxiv Recommandations
PRO Series Live Audio Systems
Owner’s Manual
xxv
PRO Series Live Audio Systems
Owner’s Manual
Contents
Cover page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Information page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
IMPORTANT SAFETY INSTRUCTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
INSTRUCTIONS DE SÉCURITÉ IMPORTANTES. . . . . . . . . . . . . . . . . . . . . vi
PRO6 EC-Declaration of Conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
PRO6 EC-Declaration of Conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
PRO9 EC-Declaration of Conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Licences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
Recommandations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxv
Overview
Chapter 1 Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
GUI diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
PRO Series user documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
PRO Series host software version . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Warranty and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Service and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Chapter 2 PRO Series Live Audio Systems . . . . . . . . . . . . . . . . . .7
Introducing the PRO3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Introducing the PRO6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Introducing the PRO9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Key features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
xxvi Contents
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System components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
FOH and MON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
System buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Mix matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Processing components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Input channel processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Mix channel processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Output channel processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Effects processing and GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Audio physical connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Surround capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Reliability (redundancy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Control software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
System card expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Console linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Integration of third party hardware/software . . . . . . . . . . . . . . . . . . .24
Chapter 3 About The Control Centre . . . . . . . . . . . . . . . . . . . . . 27
Overview of the control centre . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Bay and GUI layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Front and rear panel connections . . . . . . . . . . . . . . . . . . . . . . . . . . .31
External interfaces and peripheral devices . . . . . . . . . . . . . . . . . . . . .32
Mix buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Processing elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Getting Started
Chapter 4 Setting Up The System . . . . . . . . . . . . . . . . . . . . . . . 37
Initial set-up procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Unpacking the equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Making up a rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Outboard equipment rack requirements . . . . . . . . . . . . . . . . . . . . .37
Wiring instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Powering the system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Switching the control centre on/off . . . . . . . . . . . . . . . . . . . . . . . . . .43
Setting up the ID of the unit(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Basic Operation Of The PRO Series
Chapter 5 Before You Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Principles of operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Operating modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Normal mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Using the 4-channel input bay as area B . . . . . . . . . . . . . . . . . . . .47
Contents xxvii
PRO Series Live Audio Systems
Owner’s Manual
Operating the top output fast strips from the master bay . . . . . . . . 48
Controlling the mix buses in flip mode . . . . . . . . . . . . . . . . . . . . . 48
Hints and tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Saving your work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Saving a show versus storing a scene . . . . . . . . . . . . . . . . . . . . . . 49
Shutting down the control centre properly . . . . . . . . . . . . . . . . . . 49
Chapter 6 Working With The Control Centre . . . . . . . . . . . . . . .51
About the PRO Series controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
About channel operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
About GUI operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Drag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Common GUI screen elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Parameter values displayed on touch . . . . . . . . . . . . . . . . . . . . . . . . 54
Operating the GUI screen controls . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Using drop-down lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Spin buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
About windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Using the GUI menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Text editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Chapter 7 Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
An introduction to navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Navigating the input channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Navigating the mix buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Navigating the output channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Navigation via the GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Fault finding a problem channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chapter 8 Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Terms used in PRO Series patching . . . . . . . . . . . . . . . . . . . . . . . . . . 71
About the Patching screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
What the Patching screen symbols mean . . . . . . . . . . . . . . . . . . . 74
About the tabs in the From and To sections . . . . . . . . . . . . . . . . . . 75
Navigating to the Patching screen . . . . . . . . . . . . . . . . . . . . . . . . 85
About the devices on the stage and FOH I/O tabs . . . . . . . . . . . . . 85
Patching tooltips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Standard tooltip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
List tooltip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
About the patching procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Configuring the devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
About the configuration window . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Device configuration procedure . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Configuring the snake type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Setting up the I/O rack devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Device set-up procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
How to patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Working with patch connectors . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Single patching (SINGLE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Sequence patching (SEQ.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
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Automatic patching (AUTO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Clearing all current patching . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Chapter 9 Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Setting a mic amplifier’s input gain . . . . . . . . . . . . . . . . . . . . . . . . . .99
Setting the high and low pass filters . . . . . . . . . . . . . . . . . . . . . . . .100
Input equalisation (E zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Input dynamics processing (D zone) . . . . . . . . . . . . . . . . . . . . . . . .102
Output processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Using VCA/POP groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Configuring VCA/POP groups . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Setting up a mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Mix bus routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Using fader flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Setting up the effects rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Simple routing to master stereo outputs . . . . . . . . . . . . . . . . . . . . .111
Scene and show management (automation) . . . . . . . . . . . . . . . . . . .112
Managing the shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Managing the scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Additional control — managing events . . . . . . . . . . . . . . . . . . . . .116
Show editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Configuring the inputs and outputs . . . . . . . . . . . . . . . . . . . . . . . . .118
Using copy and paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Copy and paste rules and restrictions . . . . . . . . . . . . . . . . . . . . .119
User library (presets) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
Surround panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Two-man operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
Saving your show files to a USB memory stick . . . . . . . . . . . . . . . . .123
External AES50 synchronisation . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Security (locking mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Advanced Operation And Features
Chapter 10 Stereo Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Changing the linking options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Linking the master channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Chapter 11 Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Stereo panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
SIS™ (LCR) mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
SIS image control knob fully clockwise (LCR) . . . . . . . . . . . . . . . .132
SIS image control knob fully anti-clockwise (stereo) . . . . . . . . . . .132
SIS image control knob centred (equal power) . . . . . . . . . . . . . . .132
Surround panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
About the controls in surround mode . . . . . . . . . . . . . . . . . . . . . .134
Speaker placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
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Chapter 12 Soloing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Using solo A/B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Solo hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Solo in place (SIP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Chapter 13 Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Chapter 14 Monitors And Communications . . . . . . . . . . . . . . . .143
Monitors (A and B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Delay (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Solo system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
solo in place switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
C/O switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Monitor output (a and b) sections . . . . . . . . . . . . . . . . . . . . . . . 147
source (a and b) sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
solo (a and b) sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
solo mode section (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . 149
solo system section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Signal generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Talk osc/routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Internal talk groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Talk mic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Internal talk mic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
External talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Chapter 15 Graphic Equaliser (GEQ) . . . . . . . . . . . . . . . . . . . . .157
Overview of the GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
About the Graphic EQs screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
About the GEQ window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
GEQ front panel features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Configuring the number of GEQs (and effects) . . . . . . . . . . . . . . . . . 161
Copying settings between GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Chapter 16 Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Overview of the internal effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Rack unit number allocation . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
About the effect window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Working with the effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Effect configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Effect programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Delay effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Virtual DN780 Reverb effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Flanger effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Phaser effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Pitch Shifter effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
SQ1 Dynamics effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
3-Band Compressor effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
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Chapter 17 Control Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
VCA and POP groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177
VCA fast strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
POP groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Working with VCA/POP groups . . . . . . . . . . . . . . . . . . . . . . . . . .179
Auto-mute (mute) groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Talk groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
About the control group screens . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Management section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Programming the groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Configuring the groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Chapter 18 Copy And Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Channels versus scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Chapter 19 Assignable Controls (I Zone) . . . . . . . . . . . . . . . . . 187
About the I zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187
Controlling a rotary control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187
About the Assignable Controls window . . . . . . . . . . . . . . . . . . . .188
Using the I zone to control an internal effect/GEQ . . . . . . . . . . . . . . .190
About the assignable controls panel on the GUI . . . . . . . . . . . . . .190
Rack and unit control navigation . . . . . . . . . . . . . . . . . . . . . . . . .191
Controlling an internal effect via the I zone . . . . . . . . . . . . . . . . . . .193
Controlling a GEQ via the I zone . . . . . . . . . . . . . . . . . . . . . . . . . . .194
Chapter 20 Scenes And Shows (Automation) . . . . . . . . . . . . . . 197
About automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197
Automation controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
next LCD button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Automation screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Using the right-click menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201
Scene contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Point scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Numbering and navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Global scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Initial snapshot scene (scene 0) . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Date and time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Scene cue list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Configuring the scene cue list view . . . . . . . . . . . . . . . . . . . . . . .205
Editing scene properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Adding a new scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Copying and deleting scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Changing the order of the scenes . . . . . . . . . . . . . . . . . . . . . . . . . .207
Overriding store scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Using patching in automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Using zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Show files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Managing show files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Managing show files on the Files screen . . . . . . . . . . . . . . . . . . . .210
Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210
Safes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
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Chapter 21 Scope (Automation). . . . . . . . . . . . . . . . . . . . . . . . .213
About scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
About the Recall Scope screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Selecting scope parameter sections . . . . . . . . . . . . . . . . . . . . . . . . 215
Selecting bus parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Saving scope parameters in a scene . . . . . . . . . . . . . . . . . . . . . . . . 219
Using store scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Chapter 22 Events (Automation) . . . . . . . . . . . . . . . . . . . . . . . .221
About events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
GPIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Internal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Global scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Connecting up the MIDI/GPIO equipment . . . . . . . . . . . . . . . . . . 222
About the Edit Event window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Programming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Chapter 23 Crossfades (Automation). . . . . . . . . . . . . . . . . . . . .227
About the crossfade Edit Event window . . . . . . . . . . . . . . . . . . . . . . 227
About the crossfade parameters . . . . . . . . . . . . . . . . . . . . . . . . 228
Crossfade set up section in the Edit Event window . . . . . . . . . . . . 229
How a crossfade operates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Crossfade groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Global events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Manually controlling a crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Chapter 24 User Libraries (Presets). . . . . . . . . . . . . . . . . . . . . .235
About the Preset Manager screen . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Managing user libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Deleting presets from a user library . . . . . . . . . . . . . . . . . . . . . . . . 237
Chapter 25 File Management . . . . . . . . . . . . . . . . . . . . . . . . . . .239
About the Files screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
About the Master Controller File Synchronisation window . . . . . . . . . 241
Chapter 26 Using Other Devices With The PRO Series . . . . . . . .243
Using multiple digital consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Synchronising the consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Sharing DL431 Mic Splitter A and B inputs . . . . . . . . . . . . . . . . . 244
Using an external USB mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Using an external USB keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Using an external monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Chapter 27 Changing The User Settings. . . . . . . . . . . . . . . . . . .247
Setting the meter preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Configuring a virtual soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Restoring the PRO Series defaults . . . . . . . . . . . . . . . . . . . . . . . . . 248
Checking the PRO Series build information . . . . . . . . . . . . . . . . . . . 248
Setting the configuration preferences . . . . . . . . . . . . . . . . . . . . . . . 249
Changing the user interface preferences . . . . . . . . . . . . . . . . . . . . . 250
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Changing the signal processing preferences . . . . . . . . . . . . . . . . . . .250
Configuring the channels, groups and internal units . . . . . . . . . . . . .251
Changing the default input/output names . . . . . . . . . . . . . . . . . . . .251
Adjusting PRO Series illumination . . . . . . . . . . . . . . . . . . . . . . . . . .251
Setting the time and date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252
Chapter 28 Delay Compensation (Latency) . . . . . . . . . . . . . . . . 253
Insert compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253
GEQ compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254
GUI Delay Compensation options . . . . . . . . . . . . . . . . . . . . . . . . . .254
Monitor Mode (Align with Masters) . . . . . . . . . . . . . . . . . . . . . . . . .256
Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257
Master to matrix post-processing option . . . . . . . . . . . . . . . . . . . . .257
Solo bus delay compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
Typical configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259
FOH mix setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259
FOH mix low latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Monitor mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261
Monitor mix (low latency) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262
Description
Chapter 29 Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Front panel connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265
Rear panel connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266
Mains power and ventilation section . . . . . . . . . . . . . . . . . . . . . .266
External connections and communications (centre left) section . . .267
Audio, networking and synchronisation section . . . . . . . . . . . . . . .273
I/O section (far right) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276
Chapter 30 Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Input channel routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
Input channel areas of the control surface . . . . . . . . . . . . . . . . . . . .278
Input fast strips, channel strips and mix buses . . . . . . . . . . . . . . . . .279
Inputs on the GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
GUI input fast strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
GUI channel strips (inputs) . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
Input metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282
Channel configuration controls . . . . . . . . . . . . . . . . . . . . . . . . . . . .283
Input channel ID (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . .284
Input channel source select (GUI only) . . . . . . . . . . . . . . . . . . . .284
Input channel delay (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . .284
Stereo linking (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284
Safes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .285
Mic amp input gain (preliminary input processing) . . . . . . . . . . . . . .286
Using gain swap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Processing order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Direct output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Dynamics (D zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290
Compressor graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292
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Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Side chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
EQ (E zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
EQ graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Master controls, solo/mute and fader . . . . . . . . . . . . . . . . . . . . . . . 306
Masters sections and pan control . . . . . . . . . . . . . . . . . . . . . . . . 306
LCD select button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Mute, solo and safes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Chapter 31 Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311
Output channel routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Output channel areas on the control surface . . . . . . . . . . . . . . . . . . 312
Output fast strips, channel strips and mix buses . . . . . . . . . . . . . . . 313
Outputs on the GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Output fast zone (Overview screen) . . . . . . . . . . . . . . . . . . . . . . 314
GUI channel strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Output metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Talk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Dynamics and EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Compressor (D zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
EQ (E zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
EQ graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Mute, safes, level and solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Output channel configuration controls . . . . . . . . . . . . . . . . . . . . . . . 327
Output channel ID (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Output channel source/destination (GUI only) . . . . . . . . . . . . . . . 327
Stereo linking (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Gain swap (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Mix mode (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Input mode (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Fader linking (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Bus trim (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Direct input (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Safes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Insert (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Output channel delay (GUI only) . . . . . . . . . . . . . . . . . . . . . . . . 329
Processing order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Chapter 32 GUI Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331
Elements of the GUI menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
GUI menu flowchart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
GUI menu options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
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Appendices
Appendix A Application Notes . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Spatial imaging system (SIS™) . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
PRO Series compressor modes (dynamic) . . . . . . . . . . . . . . . . . . . .341
Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Compressor envelope modes . . . . . . . . . . . . . . . . . . . . . . . . . . .343
PRO Series input channel EQ modes . . . . . . . . . . . . . . . . . . . . . . . .345
Basic specification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .345
Description of the input channel EQ modes . . . . . . . . . . . . . . . . .345
PRO Series output channel EQ modes . . . . . . . . . . . . . . . . . . . . . . .347
Basic specification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .347
Description of the output channel EQ modes . . . . . . . . . . . . . . . .347
Appendix B Technical Specification . . . . . . . . . . . . . . . . . . . . . . 349
PRO Series general statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349
PRO Series general specifications . . . . . . . . . . . . . . . . . . . . . . . . . .351
PRO Series audio performance specifications . . . . . . . . . . . . . . . . . .352
Frequency response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .352
Gain error at 1kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .352
Input CMRR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353
Distortion at 0dBu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353
Distortion at +20dBu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .354
Signal path noise 22Hz to 22kHz unweighted . . . . . . . . . . . . . . . .355
Dynamic range 22Hz to 22kHz unweighted . . . . . . . . . . . . . . . . .355
PRO Series system inputs and outputs . . . . . . . . . . . . . . . . . . . . . . .356
DL251 I/O Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .356
DL351 I/O Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .356
DL451 I/O Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .357
DL431 Splitter (option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .358
DL371 DSP/Router . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359
PRO Series Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
PRO Series input and output characteristics . . . . . . . . . . . . . . . . . . .362
Analogue input characteristics . . . . . . . . . . . . . . . . . . . . . . . . . .362
Analogue output characteristics . . . . . . . . . . . . . . . . . . . . . . . . .362
Digital I/O characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Miscellaneous digital characteristics . . . . . . . . . . . . . . . . . . . . . .363
PRO Series main processing functions . . . . . . . . . . . . . . . . . . . . . . .364
Main input channel functions . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Auxiliary input channel functions . . . . . . . . . . . . . . . . . . . . . . . .365
Output channel functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366
Effects channel functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .367
PRO Series status functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368
Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368
Screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368
Screen functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368
LCD switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368
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Appendix C Klark Teknik DN370 GEQ . . . . . . . . . . . . . . . . . . . . .369
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Using the GEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Studio and creative use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Live use (MON) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Audio signal path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Appendix D Klark Teknik DN780 Reverb . . . . . . . . . . . . . . . . . . .373
Parameter application notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Pre-delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Decay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
LF key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
HF key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Room size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
About the special effects programs . . . . . . . . . . . . . . . . . . . . . . . . . 374
Direct signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
“Delay” effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
“ADT” effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
“Multi-Tap Echo” effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
“Sound-On-Sound” effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
“Infinite Room” effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
“Alive”, “Non-Linear” and “Reverse” effects . . . . . . . . . . . . . . . . . 376
Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Appendix E I/O Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .379
DL441 analogue input module . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
DL442 analogue output module . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
DL443 analogue Jack I/O module . . . . . . . . . . . . . . . . . . . . . . . . . . 382
DL444 analogue D-type I/O module . . . . . . . . . . . . . . . . . . . . . . . . 384
Connecting to eight XLRs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Pinouts for the remote status connector . . . . . . . . . . . . . . . . . . . 388
DL452 digital I/O module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Appendix F Replacing A Module . . . . . . . . . . . . . . . . . . . . . . . . .391
Replacing a module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Appendix G Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . .393
No audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Diagnostics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
About the Diagnostics Inspector window . . . . . . . . . . . . . . . . . . . 395
Swapping the active network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Swapping the active master controller . . . . . . . . . . . . . . . . . . . . . . 396
Synchronising the files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Mapping a GUI screen to another bay . . . . . . . . . . . . . . . . . . . . . . . 398
Reset switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
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Troubleshooting automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .399
Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .399
Error condition messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400
Error description messages . . . . . . . . . . . . . . . . . . . . . . . . . . . .401
Appendix H Updating PRO Series Host Software . . . . . . . . . . . . 407
About the PRO Series updater . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407
About the updater screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .408
Using the PRO Series updater . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410
What you will need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410
Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410
Updating your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410
Appendix I Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
System user documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415
Supplementary documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . .416
Appendix J Reference Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Definition of the primary buses . . . . . . . . . . . . . . . . . . . . . . . . . . . .417
Navigating to the Patching screen . . . . . . . . . . . . . . . . . . . . . . . . . .418
Appendix K Parameters Affected By Scope . . . . . . . . . . . . . . . . 421
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .422
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .423
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .423
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .424
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .426
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .427
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .428
Aux send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .429
Matrix send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .430
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .431
Returns (Aux Returns) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .434
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Aux send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Matrix send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .437
Auxes (Aux Sends) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .439
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .439
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .440
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .441
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .442
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Aux send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Aux preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Matrix send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .444
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445
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Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Aux send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Aux preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Matrix send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Aux send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Aux preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Matrix send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
GEQ rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
GEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Effects rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Appendix L Parameters Affected By Automate Patching . . . . . .465
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
System devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Appendix M Parameters Protected By Safes . . . . . . . . . . . . . . . .469
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Input parameters not affected by the safes . . . . . . . . . . . . . . . . . 471
EQ safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
DYN (dynamic) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
MIC safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
AUTO (automation) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
MUTE safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
FADER safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Auxes (Aux Sends) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Aux parameters not affected by the safes . . . . . . . . . . . . . . . . . . 479
EQ safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
DYN (dynamic) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
MIC safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
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AUTO (automation) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .483
MUTE safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .484
FADER safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .485
Returns (Aux Returns) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .486
Return parameters not affected by the safes . . . . . . . . . . . . . . . .487
EQ safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .487
DYN (dynamic) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .487
MIC safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .488
AUTO (automation) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .489
MUTE safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .489
FADER safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .490
Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .491
Matrix parameters not affected by the safes . . . . . . . . . . . . . . . . .492
EQ safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .493
DYN (dynamic) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .495
MIC safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .496
AUTO (automation) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .496
MUTE safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .497
FADER safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .498
Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .499
Master parameters not affected by the safes . . . . . . . . . . . . . . . .500
EQ safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .501
DYN (dynamic) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .503
MIC safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .504
AUTO (automation) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .504
MUTE safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .505
FADER safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .506
Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .507
EQ safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .507
Dynamic safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .507
Mic safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .507
Automation safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .508
Mute (MTE) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .509
Fader (FDR) safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .510
Appendix N Parameters Affected By Copy And Paste. . . . . . . . . 511
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .512
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .512
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .514
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .516
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .517
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .518
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .519
Aux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .520
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .520
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
EQ (GEQ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .524
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .525
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Owner’s Manual
Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
EQ (GEQ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
Fader section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
EQ (GEQ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
Appendix O Parameters Affected By Stereo Linking . . . . . . . . . .539
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Input controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Direct output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Direct input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Aux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Input controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Direct output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Direct input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Input controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Direct output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Direct input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
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Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .561
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .561
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .561
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .561
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .562
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .563
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .564
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .564
Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .565
Input controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .565
Direct output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .565
Direct input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .566
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .566
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .567
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .568
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .569
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .570
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .570
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .571
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .572
Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .573
Input controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .573
Direct output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .574
Direct input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .574
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .574
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .575
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .576
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .577
Bus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .578
Master routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .578
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .578
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .579
Appendix P Parameters Copied Through Scenes . . . . . . . . . . . . 581
Inputs (input channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .582
Config sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .582
Comp./Output Dyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584
Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .585
EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .586
Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .587
Matrix Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588
Fader Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .589
Recall Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .589
Store Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .589
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .590
Aux Returns (return channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . .591
Config sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .591
Comp./Output Dyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Matrix Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Contents xli
PRO Series Live Audio Systems
Owner’s Manual
Fader Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Recall Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Store Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Aux Sends (aux channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Config sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Comp./Output Dyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Aux Sends (1 to 16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Matrix Sends (1 to 16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Fader Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Recall Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Store Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Matrix (matrix channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Config sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Comp./Output Dyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Matrix Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Fader Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Recall Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Store Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
VCA/POP (groups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Masters (master channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Config sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Comp./Output Dyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Matrix Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Fader Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Recall Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Store Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Misc (miscellaneous) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Appendix Q Service Information . . . . . . . . . . . . . . . . . . . . . . . . .615
Routine maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Cleaning the control centre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Cleaning a GUI screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Equipment disposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
xlii Contents
PRO Series Live Audio Systems
Owner’s Manual
PRO Series Live Audio Systems
Owner’s Manual
Volume 1:Overview
3
PRO Series Live Audio Systems
Owner’s Manual
Chapter 1: Introduction
Welcome to the PRO Series Live Audio Systems. The PRO Series, which comprises the
PRO3, PRO6 and PRO9, provide user-friendly, state-of-the-art, high performance digital
systems specifically designed for live use.
The control centre, which forms an integral part of its live audio system, was conceived
by Midas to offer audio professionals high-performance audio equipment, designed to
provide no-compromise sonic quality with a feature set that offers all essential facilities
and functions. It represents the very best of British design and engineering combined
with contemporary, efficient manufacturing methods, and will give you many years of
reliable service.
So, to obtain the best results with a minimum of effort, please read this Owner’s Manual
and, finally, enjoy your Midas PRO Series Live Audio System!
About this manual
This is the Owner’s Manual for the PRO Series Live Audio Systems. Its purpose is to
familiarise the user with the PRO Series Live Audio Systems and show how to operate
the PRO Series Control Centres.
This document is aimed at professionals, such as front of house (FOH) and monitor
(MON) engineers, who will be using this equipment in a live performance environment.
It is assumed that the reader has prior experience of using professional audio
equipment and has, most likely, undergone training on this system.
Note: The content of this manual does not supersede any information supplied with any
other item of this PRO Series Live Audio System.
Structure
To help you find your way around the manual, it has been divided into the following
main areas:
• Overview: This gives an overview of each PRO Series Live Audio System and
associated PRO Series Control Centre, and contains information about this manual.
• Getting Started: This shows you how to set up and power up a PRO Series Live
Audio System.
• Basic Operation Of The PRO Series Control Centres: This shows you how to use
the controls of a PRO Series Control Centre, how to navigate its control surface and
GUI, how to route (patch) its channels and buses, and how to carry out basic
operations in order to get some audio out of it.
• Advanced Operations And Features: This describes the advanced features of the
control centre and gives detailed operating instructions.
• Description: This gives a detailed description of the PRO Series Control Centre
hardware, and the controls and their functions on both the control surface and GUI.
It provides useful reference material.
• Appendices: This provides reference material and technical information on the PRO
Series, such as application notes, signal path diagrams, technical specifications,
service information etc.
4 Chapter 1: Introduction
PRO Series Live Audio Systems
Owner’s Manual
Conventions
• Hand symbols, such as, (pushbutton, trackball etc.) and (control knob), are
used to show the operation of the physical controls on the control surface. GUI
operation is indicated by a pointer , which represents a ‘click’ operation.
• The graphics shown right are used to differentiate between diagrams of
the control surface (immediate right) and GUI (far right). Placement is
generally towards the upper-right corner of the diagram.
• Outline drawings are strategically
placed throughout the manual to
reference information to the
appropriate area(s) on the control
surface/GUI of the PRO Series
Control Centre. The small version
(left) indicates bay and GUI location,
while the larger one (right) can
pinpoint control sections (for
example, the EQ areas of the
12-channel input bay shown right).
Target areas are shaded in red.
• Unless otherwise stated, illumination
of a control (pushbutton, switch, control knob etc.) on the control surface/GUI of a
PRO Series Control Centre indicates an “on”, “active” or “enabled” state. Conversely,
an extinguished condition indicates the control is “off”, “inactive” or “disabled”.
• The following types of pushbutton are used on the control surface:
• “switch” - a latching pushbutton, that is, one that changes its on/off status.
• “button” - a non-latching pushbutton.
• “key” - a keyboard-type pushbutton. Usually used for entering data, such as a
number or character.
• Generally, control names are the same whether they are on the control surface or
the GUI. However, in cases where they differ, both names will be given, separated
by a forward slash “/”. The control name shown on the GUI will always be last and
enclosed in square brackets “[]”.
• Hints and tips are used to convey useful information to the user. These have
a drawing pin graphic (shown right) next to them.
Terminology
To support both FOH and MON use, the terminology has been chosen very carefully to
apply equally to both (see "Glossary" on page 617). For a definition of the primary
buses on the PRO Series Control Centres, see “Definition of the primary buses” on
page 417.
Training 5
PRO Series Live Audio Systems
Owner’s Manual
GUI diagrams
This manual contains numerous diagrams that represent the GUI screen displays. Due
to the many permutations of control settings, operating status, channel configurations
etc., it is inevitable that these diagrams will look slightly different to those on your
control centre.
Anti-aliasing
To make the GUI of the PRO Series as crisp, eye-catching and as intelligible as possible
it incorporates an anti-aliasing algorithm to ensure the utmost smoothness of straight
lines and curves.
Training
The PRO Series Control Centre Quick Reference Guides, which have been extracted
entirely from this manual, provides a useful structured training guide. For more details,
see Appendix I “Documentation”.
PRO Series user documentation
For a full list of documentation supplied with the PRO Series Live Audio Systems, see
Appendix I “Documentation”.
PRO Series host software version
This manual is for a PRO Series Control Centre running host software version 1.12 and
later.
Warranty and registration
Midas has total confidence in the quality and reliability of this product. To back this up,
this product comes with the standard Midas three year warranty.
Please take the time to register your product by completing and returning the
registration card or by registering on our website at www.midasconsoles.com.
Service and support
The PRO Series Live Audio Systems are very hi-tech pieces of equipment. We provide
superb levels of support and service to give users confidence in Midas digital products.
6 Chapter 1: Introduction
PRO Series Live Audio Systems
Owner’s Manual
7
PRO Series Live Audio Systems
Owner’s Manual
Chapter 2: PRO Series Live Audio
Systems
This chapter gives an overview of the PRO Series Live Audio Systems.
Introducing the PRO3
The PRO3 Live Audio System is an entry-level system that is ideally suited to situations
requiring tighter budgets, enabling more touring riders and professional installations to
take advantage of Midas’ digital features.
The PRO3 Live Audio System has 56 input channels with remote controlled mic
preamps, 27 buses and six stereo effects. It utilises the fixed format, 5U I/O rack of
the DL251 Audio System I/O and can be fully upgraded to the specification of a PRO6 or
PRO9.
I/O box options include the DL351 Modular I/O and DL451 Modular I/O with the full
range of module options (DL441 analogue input (mic) module, DL442 analogue output
module, DL443 analogue Jack I/O module, DL444 8 analogue mic in and 8 analogue
line out module and DL452 AES/EBU input and output module), and also the DL431 Mic
Splitter.
Introducing the PRO6
The PRO6 Live Audio System is a mid-range system that is the heart of the PRO Series.
It has 64 simultaneous input processing channels with up to 35 discrete mixes in
monitor mode. The PRO6 is expandable to 288 inputs and 294 outputs, all of which can
be patched/routed on a scene-by-scene basis by the powerful snapshot automation
system.
The I/O options include the fixed configuration DL251 Audio System I/O at the stage
box end to the DL431 Mic Splitter (24-channel x 5-way), with the full range of module
options (DL441 analogue input (mic) module, DL442 analogue output module, DL443
analogue Jack I/O module, DL444 8 analogue mic in and 8 analogue line out module
and DL452 AES/EBU input and output module).
Further flexibility can be added to the system by utilising a Klark Teknik DN9650
Network Bridge digital format converter offering MADI and Dante connectivity.
The PRO6 is fully upgradable to the specification of a PRO9.
Introducing the PRO9
The PRO9 Live Audio System is the top of the range system of the PRO Series. It has a
massive 88 channel input count with 35 buses. It has dual stage boxes to give the
flexibility of up to 200 m apart and 500 m from front of house (FOH). It has the full
range of I/O box options (DL251, DL351, DL431 and DL451), each with the full range of
module options (DL441 analogue input (mic) module, DL442 analogue output module,
DL443 analogue Jack I/O module, DL444 8 analogue mic in and 8 analogue line out
module and DL452 AES/EBU input and output module).
Further flexibility can be added to the system by utilising a Klark Teknik DN9650
Network Bridge digital format converter offering MADI and Dante connectivity.
8 Chapter 2: PRO Series Live Audio Systems
PRO Series Live Audio Systems
Owner’s Manual
Overview
A PRO Series Live Audio System is a very powerful and flexible audio processing system
that provides a complete solution for any audio mixing and signal distribution
application in a live sound environment. The PRO Series Live Audio Systems comprise
the PRO3, PRO6 and PRO9 and their common features include:
• Dual ‘daylight visible’ screens with three-way KVM switch.
•XL8-style ‘fast zones’.
• XL8-style dual operator ‘channel strips’.
• 10 VCAs.
• Six POPulation groups.
•Configurable ‘area B’.
• Surround panning, including 5.1, quad and left-centre-right-surround (LCRS).
• Dual redundant Linux control computers.
• Three AES50 ports on the rear of control centre for I/O expansion and XL8
connectivity.
• Eight AES50 ports for stage end of snake for I/O expansion.
• Up to 24 configurable inputs and 24 configurable outputs on control centre
(depending on type of I/O cards fitted).
• N+1 redundant, hot-swappable triple power supplies.
• Three-year factory warranty.
• Accessories include: Klark Teknik DN9331 Rapide Graphic Controller, Klark Teknik
DN9696 Recorder and Klark Teknik DN9650 Network Bridge.
Despite their compact size, each PRO Series Live Audio System offers a high channel
count and exemplary audio performance. They can have up to 104 simultaneous input
processing channels, along with eight auxiliary returns and up to 35 discrete mixes (16
auxes, 16 matrices and three masters) in monitor mode, thus giving a total of 41 buses
(including the six solos); all of which have EQ and a choice of dynamics options. In
addition, each PRO Series Live Audio System has eight on-board effects processors,
PEQs (four-band on inputs and six-band on outputs), eight standard (up to 36
maximum) 31-band GEQs, eight configurable stereo effects
1
, 5.1 surround panning and
comprehensive, easy-to-use routing. PRO Series automation provides up to 1,000
scenes with snapshot save/recall capability and global edit, and show file archiving.
Additional I/O hardware can expand a PRO Series network to up to 288 inputs and
294 outputs with point-to-point routing anywhere within the network, which can then
be patched and routed on a scene-by-scene basis via a powerful snapshot automation
system.
The PRO Series Control Centre forms the core of each PRO Series Live Audio System.
Operation of the control surface is intuitive, unique and easy. Its layout is based on
familiar analogue lines to retain that ‘analogue’ feel. To manage the numerous
channels, the control centre utilises VCA/POP groups and colours, and additionally there
are various navigational controls that aid quick channel/bus access and selection. A
daylight-viewable GUI at the top of the control surface assists operation and provides
extra functionality.
In a standard PRO Series Live Audio System, digital system processing (DSP) and
system I/O are provided by 19” rack units. Each system has a DL371 Audio System
Engine (7U), which is the digital system processing (DSP) engine, whereas the supplied
1. Each can be configured to generate four additional GEQs, making a total of 36 available on the control
centre (plus one stereo effect).
Key features 9
PRO Series Live Audio Systems
Owner’s Manual
I/O unit(s) are dependent on system type. The PRO Series Control Centre and rack
units are interconnected by a networked data system, which carries both proprietary
control data and open architecture AES50 digital audio, and uses readily available
standard cabling and connectors. The PRO Series uses a proven stable Linux operating
system. All of the control centre’s internal and network routing (“patching”) is
managed via the graphical user interface (GUI).
You can assign up to 36 1/3 octave KT DN370 graphic EQs, which can be controlled via
an optional KT DN9331 Rapide. There are four type of compression on the inputs and
five on the outputs.
The PRO Series have easy-to-use routing/patching, redundant power supplies and a
modular FPGA processing engine with n+1 redundant module. The DSP engines of the
PRO3 and PRO6 can be upgraded to the PRO9 specification. The audio transport
system is international AES50 standard. Component hardware connections support
redundant cables for copper (option of fibre-optic for PRO6 and PRO9). Each control
centre has dual redundant Linux master controllers (MCs), either of which can run the
entire system on their own, and they are switchable without loss of audio.
The PRO Series Live Audio System is tolerant of many types of hardware or software
failure. To achieve this the system employs dual redundancy, where a key component
has an identical redundant spare that is ready to take over should it fail. Other failure
scenarios are managed by the N+1 principle, where redundant components form an
acceptable fraction of the system.
The Klark Teknik DN9696 Recorder can be used with the PRO Series Live Audio Systems
for live multi-track recording and ‘virtual’ sound check. Optional I/O equipment
includes the XL8’s DL451 Modular I/O and DL431 Mic Splitter, and the DL251 Audio
System I/O and DL351 Modular I/O. Other optional equipment includes the Klark
Teknik DN9331 Rapide Graphic Controller for remote GEQ operation.
Key features
Please remember, each PRO Series is not just a console, it’s a LIVE AUDIO SYSTEM!
• High channel count — up to 80 mixed primary inputs (sourced from up to 288
input locations) and up to 35 output channels.
• Control centre — Small and very compact with an exciting but familiar and
ergonomic control surface, enhanced by a two-screen GUI.
• Performance — Reduced price, scale and features, but still with XL8 audio
performance.
• Operation — Easy to use with responsive interpolated controls and fast, intuitive
human interfaces that combine to produce that familiar analogue feel.
• User interface (speed and feel) — VCA groups (console comes to you!); POP
groups (console comes to you!); muscle memory (E-zone and D-zone on channel
strips, which have paged controls that do not change function); input and output
fast zones; electronic colour coding; and dedicated motorised master output
faders.
• User interface (status visibility) — Dual daylight-visible screens and integral
surface illumination; metering (23 discrete 20-segment LED meters), discrete
metering for dynamics, and all meters all of the time; “ST” assign switch; and
eight channels of key data plus a single channel strip on both GUI screens.
• Traditional Midas and Klark Teknik audio quality:
• Headroom — High headroom, which is well behaved, even when pushed a little
too hard.
• Mic amps — High quality, overload tolerant microphone amplifier per input.
• Dynamics — High quality dynamic processing with traditional analogue
artefacts. Midas dynamics has four styles on the inputs and five on the outputs.
10 Chapter 2: PRO Series Live Audio Systems
PRO Series Live Audio Systems
Owner’s Manual
• EQ — Fully interpolated phase shifting EQ for that “Midas” sound.
• PEQ — High quality EQ with the “Midas” sound. Each output has a six-band
parametric EQ, while the inputs have four bands each. Midas sound quality and
‘feel’ on the EQ’s four filters.
• GEQ — Up to 36 Klark Teknik-quality GEQs with unique on-board fast access
controller and control from RapidE.
• Effects — High quality effects processing with traditional artefacts. Up to eight
stereo effects units.
• Patching — Unique simple-to-use routing system that lets you carry out all your
routing needs and also configure any attached devices via the GUI.
• Navigation — VCA-based and other advanced intuitive paging/navigation methods.
• Automation:
• Snapshots — Flexible snapshot style save and recall of control settings and
cross-scene global edit capability.
• Showfiles — USB connectors for show archiving. Showfiles are both forward
and backward compatible across firmware versions.
• Metering — Comprehensive metering. The GUI can show all of the meters all of the
time.
• Dual operation — Capable of supporting two-man operation, which is ideal for
festival situations.
• Storable preferences — Storable user operational preferences to suit specific
applications, for example, FOH/MON.
• Broadcasting — 5.1 surround panning for broadcast markets.
• Latency — Low and managed latency through the system. Minimal latency and
fully time aligned.
• Cabling — Cat 5e or fibre optic snakes. Standard system has reduced cabling as
compared to any other available solution.
• System design and network:
• Integrated open-architecture AES50 digital audio distribution.
• Up to 100 metres (Cat 5e) or up to 500 metres (optical fibre) of dual redundant
connectivity between hardware elements.
• Automatic integral delay management system — audio outputs time and phase
coherent.
• Flexible, expandible hardware system includes analogue and digital I/O options
for flexible system integration.
• Ethernet TCP-IP and USB tunnelling for third parties.
• KVM (keyboard, video and mouse) switching on control centre.
• Fast flexible audio and control system architecture.
• Modular digital and analogue I/O options.
• Advanced automation and system operating preferences.
• PRO Series is flexible and the system can be customised with the needs of the
install.
• VGA outputs for additional screens.
Key features 11
PRO Series Live Audio Systems
Owner’s Manual
• Reliability — High reliability with some redundancy and other back up
contingencies.
• Failure-tolerant of any single failure of hardware or software.
• Proven, stable Linux operating system.
• Dual redundant control surface master controllers and N+1 redundant PSUs.
• Duplicated (N+1) network for redundancy.
• Control centre has triple redundant power supplies.
• DL251 Audio System I/O (stage box) has dual redundant power supplies.
• DL351 Modular I/O (stage box) has dual redundant power supplies and N+1
redundant AES50 connections at the digital interface.
• DL371 Audio System Engine (stage box) has N+1 (optional) modules with three
(N+1) power supply units (PSUs).
• DL431 Mic Splitter (stage box) has dual redundant power supplies.
• DL451 Modular I/O (stage box) has N+1 redundant AES50 connections at the
digital interface.
• Support — 24/7 global telephone support.
The following table shows the differences between the PRO Series systems.
Table 1: PRO Series comparison
Item PRO3 PRO6 PRO9
Configuration:
Maximum capacity,
giving point-to-point
routing anywhere
within the network
Inputs = 288
Outputs = 294
Inputs = 288
Outputs = 294
Inputs = 288
Outputs = 294
Primary inputs 48 56 80
Return inputs 8 8 8
Maximum
simultaneous mix
channels
72 80 104
Number of
groups/auxes
16 16 16
… and matrices 8 16 16
… provide these mixes
in ‘monitor’ mode
24 32 32
Mix buses273535
VCAs 10 10 10
POPulation groups 6 6 6
Effects devices 6 8 8
Maximum Klark
Teknik DN370 Graphic
Equalisers - with
optional DN9331
control
28 36 36
Configurable ‘area B’ Yes Yes Yes
12 Chapter 2: PRO Series Live Audio Systems
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Standard surface I/O
(three configurable
card slots): see
Table 3 “Standard
equipment supply per
PRO Series system”
on page 16
Yes Yes Yes
Stage I/O DL251 - 48 inputs and
16 outputs, fixed
configuration
DL351 - 56 inputs and
8 outputs,
configurable I/O
DL351 - 56 inputs and
8 outputs,
configurable I/O
DL451 - 24 inputs,
configurable I/O
Digital snake 100 m bi-directional
192 + 192 channel
Cat 5e digital snake
(with redundant
option)
Dual redundant
HyperMac (192 x 192)
Cat 5e digital snake
included.
Fibre-optic
connections for
optional maximum
500 m snake.
Dual redundant
HyperMac (192 x 192)
Cat 5e digital snake
included.
Fibre-optic
connections.
Upgradeability To PRO6 and PRO9 To PRO9 N/A
Shipping Control centre
supplied in shipping
crate
Control centre
supplied in flight case.
16U flight case
supplied for DL371
DSP and DL351 I/O.*
Control centre
supplied in flight case.
16U flight case
supplied for DL371
DSP and DL351 I/O.*
Additional I/O box options:
DL251 Audio System
I/O
Yes Yes Yes
DL351 Modular I/O Yes Yes Yes
DL431 Mic Splitter Yes Yes Yes
DL451 Modular I/O Yes Yes Yes
I/O card options:
DL441 analogue input
(mic) module
Yes Yes Yes
DL442 analogue
output module
Yes Yes Yes
DL443 analogue Jack
I/O module
Yes Yes Yes
DL444 8 analogue mic
in and 8 analogue line
out module
Yes Yes Yes
DL452 AES/EBU input
and output module
Yes Yes Yes
Option of 150 m fibre
optic cable
No Yes Yes
Item PRO3 PRO6 PRO9
Applications 13
PRO Series Live Audio Systems
Owner’s Manual
* Packing may vary by territory.
Applications
The PRO Series are the ‘work horse’ mid- to high-end Midas Digital Console Systems,
akin to the ‘industry standard’ Heritage 3000. Although the PRO Series are designed
for the traditional touring live sound environment, they are also ideal for medium-sized
theatre, small house of worship installations and broadcast. So, being a truly
multi-functional console in the Midas tradition, the PRO Series are suitable for many
applications, such as:
• Live sound touring MON or FOH duties.
• Live sound small theatre MON or FOH duties.
• Live sound house of worship MON or FOH duties.
• Live sound broadcast mixer with basic 5.1 surround capabilities and monitoring.
Packing options:
Control centre flight
case
Yes N/A N/A
16U flight case for
DL371 DSP and I/O
Yes N/A N/A
Accessories:
Klark Teknik DN9331
Rapide Graphic
Controller
Yes Yes Yes
Klark Teknik DN9696
Recorder
Yes Yes Yes
Klark Teknik DN9650
Network Bridge
(MADI, Dante, Aviom,
Ethersound,
CobraNet)
Yes Yes Yes
Item PRO3 PRO6 PRO9
14 Chapter 2: PRO Series Live Audio Systems
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System components
The PRO Series are modular systems, which allows for some variations in physical
placement and system size.
The standard PRO Series touring system package is shipped in a single, easily portable
flight case, with an equally portable, flight-cased control surface and minimal cabling.
The following table lists all of the available equipment options for the PRO Series Live
Audio System package.
Table 2: Range of PRO Series equipment supply
Item Example
PRO3 Control Centre
PRO6 Control Centre
PRO9 Control Centre
DL251 Audio System I/O This is
supplied as a fixed configuration unit
with 48 mic/line inputs and 16 outputs.
DL351 Modular I/O This has eight
slots in an 8 x 8-channel format, which
provide up to 64 x 64 configurable I/Os.
System components 15
PRO Series Live Audio Systems
Owner’s Manual
DL371 Audio System Engine This is
populated with five cards, the two empty
slots being blanked off. (If the optional
N+1 redundant DSP module card is
fitted, there will be six cards and one
empty slot.)
DL431 Mic Splitter This is a fixed
configuration I/O unit that has
24 mic/line inputs in a 5-way split.
DL451 Modular I/O This gives up to
24 configurable I/Os in a 3 x 8 XLR
modular format.
DL441 analogue input (mic) module
This is an analogue mic/line input "I"
card.
DL442 analogue output module This
is an analogue output "O" card.
DL443 analogue Jack I/O module
This is an 8-analogue line in and
8-analogue line out “TRS” card.
DL444 8 analogue mic in and 8
analogue line out module This is an
8-analogue mic in and 8-analogue line
out "D Sub" card.
DL452 AES/EBU input and output
module This is an AES/EBU input and
output "D" card.
Interconnecting cable
Interconnecting (N+1) rack Cat 5e
copper cable
N/A
Interconnecting cable
Interconnecting (dual redundant) gigabit
HyperMac Cat 5e copper cable, 100 m
long
N/A
Mains cable N/A
Item Example
16 Chapter 2: PRO Series Live Audio Systems
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Table 3: Standard equipment supply per PRO Series system
Item PRO3 PRO6 PRO9
Control centre Thee slots in rear
panel populated with:
DL443 module and
two blank panels.
Thee slots in rear
panel populated with
the following
modules: DL442,
DL443 and DL452
Thee slots in rear
panel populated with
the following
modules: DL442,
DL443 and DL444
Control centre
supplied in ...
Shipping crate Flight case Flight case
DL251 Audio System
I/O
Yes No No
DL351 Modular I/O No Populated with seven
DL441 analogue input
modules (56 main
inputs) and a DL442
analogue output
module. There are a
total of 56-off XLR
mic/line inputs
provided on the
system.
Populated with seven
DL441 analogue input
modules (56 main
inputs) and a DL442
analogue output
module
DL371 Audio System
Engine
Populated with five
cards, the two empty
slots being blanked
off. (If the optional
N+1 redundant DSP
module card is fitted,
there will be six cards
and one empty slot.)
Populated with five
cards, the two empty
slots being blanked
off. (If the optional
N+1 redundant DSP
module card is fitted,
there will be six cards
and one empty slot.)
Populated with five
cards, the two empty
slots being blanked
off. (If the optional
N+1 redundant DSP
module card is fitted,
there will be six cards
and one empty slot.)
DL431 Mic Splitter No No No
DL451 Modular I/O No No Populated with 3-off
DL441 input modules
DL441 analogue input
(mic) module
No 7-off in DL351 7-off in DL351,
3-off in DL451
DL442 analogue
output module
No 1-off in DL351,
1-off in PRO6 Control
Centre
1-off in DL351,
1-off in PRO9 Control
Centre
DL443 analogue Jack
I/O module
1-off in PRO3 Control
Centre
1-off in PRO6 Control
Centre
1-off in PRO9 Control
Centre
DL444 8 analogue mic
in and 8 analogue line
out module
No No 1-off in PRO9 Control
Centre
DL452 AES/EBU input
and output module
No 1-off in PRO6 Control
Centre
No
Rack units supplied
in ...
14U rack, in a flight
case
16U rack, in a flight
case (packing may
vary by territory)
16U rack, in a flight
case (packing may
vary by territory)
Interconnecting
(N+1) rack Cat 5e
copper cable
4-off 4-off 4-off
FOH and MON 17
PRO Series Live Audio Systems
Owner’s Manual
FOH and MON
Each PRO Series can be used as a front of house (FOH) or stage monitor (MON) system.
System buses
The PRO Series has comprehensive system buses to suit demanding applications,
comprising:
• 6-off solo buses, routable from all locations and allowing for dual operator and 5.1
use.
• 3-off master buses, routable from the mic/line inputs (up to 80), eight aux inputs
and 16 aux buses.
• Up to 16-off matrix buses, routable from the mic/line inputs (up to 80), eight aux
inputs, 16 aux buses and three master buses.
• 16-off aux buses, routable from the mic/line inputs (up to 80) and eight aux inputs.
All of the bus routings provide simultaneous and time aligned mixing of all the sources,
which will be defeatable for minimum latency requirements.
For monitor mixing, the master, matrix and aux buses can all be routed directly from
the input channels, with independent level controls providing up to 35 monitor mix
buses.
For traditional FOH sub group mixing, any (or all) of the aux buses can change to
operate post-channel fader and pan (that is, aux gain fixed at unity).
Auxiliary inputs have two modes of operation: effects return and input channel. In
input channel mode (default) they will have aux, master and matrix routing, insert
points and EQ (like regular inputs channels), but no dynamic capability. They are
controlled like regular inputs from the input bay and channel strip, and are time aligned
to the stage like regular input channels. In effects return mode the channels have
routing to matrix and masters only and no insert or dynamic capability. They are
controlled from the aux return area and time aligned to the effects engines.
Interconnecting (dual
redundant) gigabit
HyperMac Cat 5e
copper cable, 100 m
long.
2-off 2-off 2-off
Mains cable 8-off 8-off 8-off
Item PRO3 PRO6 PRO9
18 Chapter 2: PRO Series Live Audio Systems
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Mix matrix
Ultimately, the mix matrix defines the capability of each PRO Series Control Centre.
Probably the best way to imagine the mix matrix is to think of an analogue console
layout, where inputs run vertically and buses run horizontally. A mix matrix is usually
defined as the number of buses and the quantity of simultaneously-mixable inputs
there are per bus. The following diagrams illustrate the capability within each PRO
Series Control Centre.
Figure 1: PRO3 mix matrix
16 aux
buses
56 in x 16 out
mix matrix
{}
72 in x 3 out
mix matrix
8 matrix
buses
75 in x 8 out
mix matrix
3 master (stereo
and mono) buses
{}
{}
48 mic/line inputs 8 mic/line return inputs
6 solo
buses
83 in x 6 out
mix matrix
{}
Bus outputs
Bus inputs
Mix matrix 19
PRO Series Live Audio Systems
Owner’s Manual
Figure 2: PRO6 mix matrix
Figure 3: PRO9 mix matrix
16 aux
buses
64 in x 16 out
mix matrix
{}
80 in x 3 out
mix matrix
16 matrix
buses
83 in x 16 out
mix matrix
3 master (stereo
and mono) buses
{}
{}
56 mic/line inputs 8 mic/line return inputs
6 solo
buses
99 in x 6 out
mix matrix
{}
Bus outputs
Bus inputs
16 aux
buses
88 in x 16 out
mix matrix
{}
104 in x 3 out
mix matrix
16 matrix
buses
107 in x 16 out
mix matrix
3 master (stereo
and mono) buses
{}
{}
80 mic/line inputs 8 mic/line return inputs
6 solo
buses
123 in x 6 out
mix matrix
{}
Bus outputs
Bus inputs
20 Chapter 2: PRO Series Live Audio Systems
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Processing
Although the control centre system allows for considerable insertion of external
processing, it also embodies more than enough internal high quality processing to
eliminate the need for this, in the interests of simplicity and reduced overall system
size, weight and cost.
Processing components
The processing available is:
• Up to 80 x 12 or 24dB/oct. high pass filters.
• Up to 80 x 6 or 12dB/oct. low pass filters.
• 115 compressor/limiters with side chain filtering and multiple operating “signatures”.
• Up to 80 gates with side chain filtering.
• Up to 80 x 4-band parametric EQs with multiple shelf “modes”.
• Up to 35 x 6-band parametric EQs with hi/lo pass modes.
• 8 assignable 31-band graphic EQs.
• Up to 36 additional 31-band graphic EQs that utilise effects processor digital signal
processing (DSP), reducing the available effects quantity stated below.
• Up to 8 effects processors selectable from reverb, delay, flanger, phaser, dynamics,
compressor and pitch shifter.
Input channel processing
Each of the 80 (maximum) full-function input channels has:
• Analogue and digital gain.
• Phase reverse switch.
• Input delay.
• Swept high pass filter with choice of two filter slopes.
• Swept low pass filter with choice of two filter slopes.
• Frequency-conscious compressor with choice of four compression styles.
• Frequency-conscious noise gate with external side chain.
• Insert point.
• Treble EQ filter with choice of four filter types.
• Parametric hi-mid EQ filter.
• Parametric lo-mid EQ filter.
• Bass EQ filter with choice of four filter types.
• Routing via level controls to 32 mix buses.
• Routing via pan control to left and right master buses.
• Routing to mono master bus.
•Panpot (SIS™).
• Direct output.
Each of the eight auxiliary inputs has:
• Input gain.
• Source from internal FX or external input.
Processing 21
PRO Series Live Audio Systems
Owner’s Manual
•EQ.
•Fader.
•Panpot (SIS™).
• Routing via level controls to the matrix buses (8 or 16).
• Routing via pan control to the left, right and mono master buses.
Mix channel processing
Each of the 16 auxiliary mix buses has:
• Subgroup, auxiliary or mix minus modes.
• Dual mono or stereo pair modes.
• Six-band PEQ.
• Optional 31-band GEQ (replaces PEQ).
• Frequency-conscious compressor with choice of five compression styles.
• Insert point.
• Routing via level controls to the matrix buses (8 or 16).
• Routing via pan control to the left, right and mono master buses.
• Direct input.
Each of the matrix buses (8 or 16) has:
• Six-band PEQ.
• Optional 31-band GEQ (replaces PEQ).
• Five-mode frequency-conscious compressor with soft clip limiter and external side
chain.
• Insert point.
• Direct input.
Output channel processing
Each of the matrix buses (8 or 16) has:
• Six-band PEQ.
• Optional 31-band GEQ (replaces PEQ).
• Five-mode frequency-conscious compressor with soft clip limiter and external side
chain.
• Insert point.
• Direct input.
Each of the three master output buses has:
• Six-band PEQ.
• Optional 31-band GEQ (replaces PEQ).
• Five-mode frequency-conscious compressor with soft clip limiter and external side
chain.
• Insert point.
• Direct input.
• Routing via level controls to the matrix buses (8 or 16).
22 Chapter 2: PRO Series Live Audio Systems
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Effects processing and GEQs
The PRO Series contains six or eight mono Klark Teknik (KT) GEQs and seven effects
processors as standard.
The seven effects processors can be freely chosen from:
• KT DN780 reverb.
•Delay.
•Flanger.
•Phaser.
• Pitch shifter.
• SQ1 dynamics.
• Stereo 3-band compressor.
The six or eight mono KT GEQs can be patched into any output. There are many
patching options for the effects processors:
• Assign to any insert send/return.
• Assign to any pool, in or out.
• Assign FX out to aux return.
• Assign FX in to aux send (post-fade).
• Assign FX out to bus direct in.
• Assign FX in to channel direct out.
A Klark Teknik DN9331 RAPIDE motorised fader GEQ controller can be used with the
PRO Series. This unit provides rapid adjustments of the graphics with real hardware,
and not a mouse and screen. The graphic channel is selected either by the solo button
(solo tracking system (STS™)) on the PRO Series Control Centre or by buttons on the
DN9331 itself.
Audio physical connections
The maximum total number of physical analogue XLR connections possible on a PRO
Series Live Audio System is 288, plus the six local monitor outputs, talkback line out,
talk line in and talkback mic in on the rear of the control centre. The 288 configurable
connections can be any combination of inputs and outputs, in multiples of eight of each
type.
The maximum number of 288 configurable I/O can be increased up to 576 if a
combination of different types of I/O card used. The five available card types are
DL441, DL442, DL443, DL444 and DL452 (see Table 2 “Range of PRO Series equipment
supply” on page 14). Any three of these cards can be fitted directly into the rear of a
PRO Series Control Centre, and the remainder are fitted in the configurable I/O boxes.
All of the configurable I/O are freely routable on a scene-by-scene basis.
Surround capabilities
Theatres and broadcast have differing requirements for surround and both are catered
for in the PRO Series.
Conventional stereo and SIS™ panning is assignable on a channel-by-channel basis
(channel one can be in stereo, while channel two can be in SIS™), as follows:
• Stereo left–right routing to master buses.
• SIS™ left–right–centre routing to master buses.
Network 23
PRO Series Live Audio Systems
Owner’s Manual
Three additional surround modes operate as follows:
• Quad Left – Right – LS – RS routing to matrices 1, 2, 5 and 6.
• Surround Left – Right – Centre – Surround routing to matrices 1, 2, 3, 5 and 6.
• 5.1 surround Left – Right – Centre – Sub – LS – RS routing to matrices 1, 2, 3, 4,
5 and 6.
Network
The MidasNET network of the PRO Series utilises the physical connectivity of Ethernet
(EtherCon® connectors and Cat 5e/copper cable), but replaces its data protocol with
AES50 protocol (implemented as SuperMac) and the HyperMac high capacity system,
which are more suited to high quality, low latency audio distribution. The use of the
AES standard allows straightforward interfacing with any third party hardware that also
utilises this connection.
MidasNET connections carry digital audio, control data and standard Ethernet traffic
bi-directionally down a single cable. Cat 5e cable is used for the ‘local’ connections and
the single digital ‘snake’ (equivalent to a 384-channel analogue multi-core) between
control centre and DL371 Audio System Engine. The combination of audio, control,
clock and third party Ethernet data in a single network means that the hardware
interfaces on a single RJ45 connection.
All system connections are duplicated for full dual redundancy.
Reliability (redundancy)
All critical system connections and most components incorporate integral backup and
recovery strategies such as redeployment of resources, N+1 redundancy or dual
redundancy etc. A modular approach to software, hardware and physical construction
also aids reliability and simplifies servicing. The following lists some examples:
• The DL371 Audio System Engine incorporates N+1 redundant power supplies and
five modules, with the capability to fit an optional sixth spare module. The standard
failure recovery for modules will be redeployment of critical roles typically causing
loss of some less important inputs. With the optional sixth module fitted, the system
will operate as N+1 and there will be no loss of function after redeployment.
• The router is contained in the same rack and incorporates dual HyperMAC
connections in and out.
• The control centre contains dual redundant master controllers, dual GUI screens and
N+1 redundant power supplies.
• All I/O units incorporate dual redundant power supplies, and the DL351 and DL451
are modular in blocks of eight to limit the potential for total audio connection failure.
This resilience strategy provides high reliability performance at a reasonable cost
because it is designed in from the start and not as an afterthought.
Control software
The operating system of the PRO Series is Linux, which is an open-source, stable,
proven operating system (OS). Linux is used in many mission-critical applications
worldwide and has allowed Midas’ software engineers to write a ground-up system that
contains no ‘hidden’ or unused code. This has resulted in an efficient, compact
application, which is quick in operation, quick booting and comparatively easy to debug.
Two copies of the master control software run on separate processors to provide
resilience to failure.
24 Chapter 2: PRO Series Live Audio Systems
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GUI
The PRO Series has two, daylight-viewable, TFT screens that provide fast zone and
channel strip status indication. Although any screen can display any information, in the
standard configuration, screen information relates to module location. So, the mix bay
screen displays the channel strip and fast zone (12 inputs and 16 outputs), while the
master bay screen displays the channel strip, input fast zone (four inputs) and all
meters. The master bay screen is also generally used for automation, effects, GEQs,
third party screens etc., although this is dependent on the current application (concerts
will probably be different to theatre) and also operator preference.
The screens are controlled from the primary navigation zone at the bottom of the
master bay via two trackballs. A USB keyboard (supplied) is used for text editing.
System card expansion
Additional digital I/O format options will be available later, for example, MADI.
Console linking
You can link two PRO Series Control Centres together. Just connect an AES50 cable
from a spare AES50 port on one router to a spare port on another, and then configure
them via the “Generic AES50” connections option in the GUI menu’s Patching screen.
Integration of third party hardware/software
The PRO Series network includes the capability to interface any third party hardware
that uses AES/EBU or AES50 digital audio, or a standard analogue audio interface.
Each PRO Series AES/EBU input and output has a sample rate converter.
Synchronisation to external AES3 interfaces can be:
• Global - via inputs on the routers.
• Local to each input.
• Local to each output (synchronisation to adjacent local output).
Multiple local connections can be at different sample rates.
The use of the AES50 protocol for the transmission of digital audio means that any third
party digital audio hardware that features this connection can be connected to the
Midas network, and will transfer audio to and from the Midas hardware without any
additional interfaces or converters (provided it runs in TDM 96kHz mode). This will be
particularly useful as the protocol gains acceptance with recording and playback
devices, loudspeaker controllers, audio networking systems, digital amplifiers etc.
PC or MAC computers can use the Ethernet tunnel in the MidasNET system, and can
communicate with other computers on the network.
The PRO Series Control Centre features an external video for both screens, and the
master bay GUI screen (on the right) also has a three-way KVM switch. Control centre
views can be routed to external monitors, and external video sources can be displayed
on the control centre.
The KVM switch facilitates the control of three external computers via the screen,
trackball and keyboard of the control centre. This is hugely important and means that
third party systems can be controlled from within the PRO Series Control Centre without
having to move your head to look at screens placed off to one side. It also means that
there is no need to find somewhere to put multiple keyboards and mice. Examples are:
• Netmax (AES/EBU audio link initially and CobraNet™ when the 48kHz I/O module is
available on PRO Series).
• IRIS (for example, for RL amps).
Integration of third party hardware/software 25
PRO Series Live Audio Systems
Owner’s Manual
• Wireless mic controllers.
•Your email.
•DVD movies.
26 Chapter 2: PRO Series Live Audio Systems
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27
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Chapter 3: About The Control Centre
This chapter introduces you to the control centre and provides a brief hardware
description.
Overview of the control centre
The control centre has a combined control surface and GUI that provide an array of
easy-to-use controls for the precise manipulation of audio.
The control centre is of modular construction and is built on a robust Midas steel frame
chassis similar to those used for established Midas analogue products. The frame
houses three full size bays with a smaller one on the right. All of the bays are
controlled from a single processor and, collectively, provide the primary mixing needs
of the engineer.
All associated power supplies, computer motherboards, memory, graphics cards etc.
are housed within the control centre, which also contains a digital audio router box that
supports local FOH (insert) I/O connectors on the rear panel. Substantial forced
air-cooling is provided by a bulkhead and large (but slow moving) internal fans. These
produce very low noise, suitable for seated areas theatres and concert sound.
Typical control centre
Externally, the control centre has three main areas: control surface, GUI and rear
panel. The control surface is populated with instantly recognisable controls that are
logically distributed in major sections. The GUI, which comprises two screens at the top
of the centre bays, enhances operation by providing visual representations of the
control surface and also gives you extra functionality. The rear panel provides all of the
control centre and network connectivity, and houses the mains power sockets and
isolator switch.
Being of modular design, the overall form and shape of the control centre is similar to
Midas’ flagship XL8. The control surface is split into bays, each one containing a flat
fader tray and shallow raked control area. The centre bays also have a third area that
houses a steep-raked display screen.
Multiple hardware fault types are tolerated by the control centre without loss of audio
control due to the dual redundancy and N+1 methods incorporated in the system. This
is further helped by the modular nature of the bays and GUI independence. Either of
28 Chapter 3: About The Control Centre
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Owner’s Manual
the GUI screens can be used to operate the whole control centre, even if none of the
control surface hardware is working. The unit offers the facility of universal input, N+1
redundant power supplies with three latching mains connectors.
Bay and GUI layout
The control centre has four discrete bays that house the following control surface
controls:
• Input bays (12-channel and 4-channel) — two input bays provide fast access to
input faders and important signal processing controls.
• Mix bay — provides access to outputs and groups, a detailed processing controller
(all channels) and navigational controls.
• Master bay — provides access to the master output mixes, monitor (A and B)
faders, automation, comms control, assignable effects control, and another set of
detailed processing and navigational controls.
Figure 4: Bay and GUI layout of a typical control centre
Two GUI display screens at the top of the central bays provide extensive screen support
(standard configuration) and extra functionality for the channels and buses. For
example, when mixing or processing. They also facilitate the use of the GUI menu,
which gives you access to the many powerful features of the control centre, such as
patching, effects, GEQs, diagnostics etc.
6
1
2
5
3
4
1 Input bay (12-channel).
2 Mix bay.
3 Master bay.
4 Input bay (4-channel).
5 Mix bay GUI screen.
6 Master bay GUI screen.
7 Talk mic and USB
connectors.
7
Control surface 29
PRO Series Live Audio Systems
Owner’s Manual
Control surface
The control surface is divided into areas whose function is, largely, dependent on bay
location. Each bay has assorted control elements with local feedback and/or support
from the two centrally located GUI display screens. The screens can be remoted via
external VGA connections, and third party systems can also be viewed/controlled via an
integrated KVM switch on the rear panel.
Figure 5: Main areas of the control surface
A A
B
D
E
G
H
A — input fast zone: 16 input fast
strips across the 12-channel and
4-channel input bays provide the
operator’s ‘must have now’ controls.
B — channel strip and mixes:
processing areas, such as the D-zone
(dynamic), E-zone (EQ) and mix controls,
provide a more comprehensive control by
allowing detailed adjustments to a single
channel’s audio parameters.
C — channel and bus navigation
zone: sections for channel and bus
navigation and selection. For details, see
Chapter 7 “Navigation”.
D — output fast zone: 16 output fast
strips can be used for mixing and
processing aux, return, matrix and
master channels. Navigation and flip
buttons are on the right of the output fast
strips.
E — VCA and POP groups: VCA faders
and POP group sections.
F — miscellaneous: master channel
strips, A and B signal path monitoring,
communications, I-zone, surround
monitoring and mute groups.
G — primary navigation zone:
trackballs for mix and master bay GUI
screen control, and a screen access panel
(between trackballs) for direct access to
GUI menu options.
H — automation: scene store/recall
and system edit.
C
C
F
B
30 Chapter 3: About The Control Centre
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During show time the screen functions that require fast access are controlled by control
knobs, pushbutton switches, faders etc. More complex functions that do not require
this fast access are controlled by the trackballs and navigational keys. A keyboard
integral to the flight case is used for text entry via the master bay GUI screen. An
external USB keyboard can be used to operate the mix bay GUI screen.
The choice of controls provided by each bay type are prioritised by access time
importance. Fast zone areas, which contain fast strips, give instant access to specific
functions across the bay, and channel strips give greater control of the selected fast
strip.
GUI
The GUI comprises two screens that provide a pictorial representation of the control
surface layout so that its displays are easy to follow at a glance. Not only does it reflect
what is happening on the control surface, but it also provides extra functionality via a
GUI menu. This menu provides access to all the screens that you will require to set up,
configure, manage and operate the entire control centre, all from a single drop-down
list of easy to follow options.
Figure 6: Typical Overview screen (default of the mix bay GUI screen)
Typical Meters screen with no show loaded (default of the master bay GUI screen)
Channel strip
Banner
Inputs
Outputs
Channel type select buttons
All meters
display
Inputs and automation
summary
PRO6
PRO3
PRO9
Front and rear panel connections 31
PRO Series Live Audio Systems
Owner’s Manual
Each GUI screen has its own default display, although either is selectable via the GUI
main menu. The Overview screen displays 12 inputs and two sets of eight outputs,
and the Meters screen shows all the meters, four inputs and a summary of the
automation. Both screens have a banner at the top, which is constantly displayed, and
a channel strip down the outermost side.
The channel strips have a similar function to the ones on the control surface (see
Figure 5 on page 29), but provide extra functionality. Each displays an ‘overview’ of
the associated selected channel, which is divided into specific sections that provide
access to processing areas.
Front and rear panel connections
The control centre has connector panels on both the front and rear, and also to the left
of the mix bay GUI screen.
The connector panel to the left of the GUI has an XLR socket and two USB sockets for
connecting a talk mic and USB devices, respectively. For example, you can connect a
USB memory stick for show file backup and transfer, or a USB keyboard for text editing
on the GUI. The top USB socket is associated with the mix bay and the bottom one with
the master bay.
There are two panels at either end of the front of the control centre, under the
armrests. Each has a keyboard and phones socket. The left and right keyboard sockets
operate the mix and master bay GUI screens, respectively. The phones socket in the
left panel is for the monitor A section and the other one is for monitor B.
A connector panel on the rear of the control centre has three main sections (see below).
On the left are three mains power inlet and ventilation assemblies, with a
DC power switch above. The mid-section contains connections for the audio, network,
communications, intercoms, synchronisation, external remote devices and peripheral
devices. The section on the right is the user-configurable modular I/O section.
The modular I/O section can house up to three of any of the following I/O modules in
any combination: DL441 analogue input (mic) module; DL442 analogue output module;
DL443 analogue Jack I/O module; DL444 8 analogue mic in and 8 analogue line out
module and DL452 AES/EBU input and output module. This gives a maximum of 24
inputs and 24 outputs, if the appropriate cards are fitted.
Rear view of the control centre
For more information, see Chapter 29 "Panel Connections" on page 265.
Mains power
and ventilation
Audio, control
and networking
I/O
(configuration dependent)
32 Chapter 3: About The Control Centre
PRO Series Live Audio Systems
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External interfaces and peripheral devices
Various devices can be used with the PRO Series, such as:
• External USB mouse Instead of using the primary navigation zone to operate
either of the GUI screens, you can use an external USB mouse. This can be plugged
into any of the USB connectors on the PRO Series. The USB mouse behaves in the
same way as any PC mouse. For more information, see “Using an external USB
mouse” on page 244.
• External USB keyboard A USB keyboard can be used to operate either of the GUI
screens. For more information, see “Using an external USB keyboard” on page 244.
• MIDI Standard 5-pin connectors are housed in the rear panel for use as MIDI in,
out and through ports. These are fitted on the I/O units and, therefore, are available
at both the FOH and the stage locations.
• USB Host and slave USB ports are provided on all units and are, therefore,
available at the FOH and stage locations. In addition, the PRO Series provides USB
host ports (left of GUI screens) for keyboard, mouse and removable storage
(memory stick).
• External monitor The control centre has high density D-type connectors on the
rear panel of the PRO Series Control Centre that carry VGA signals for external
monitor connection. For more information, see “Using an external monitor” on
page 245.
• HELIX auto solo Provided by means of the Ethernet connections on the routers.
Solo tracking system (STS) is only available by using a Klark Teknik HELIX RapidE.
The console sends solo messages to the RapidE, which then pages to the console.
• Remote GEQ operation A Klark Teknik HELIX RapidE can be used to remotely
control the GEQs of the PRO Series Control Centre.
• Network inter-operability A port on the router is for general ‘rest of the world’
Ethernet traffic. This port is isolated from the PRO Series Control Centre’s Ethernet
traffic by a routing table gateway mechanism within the router itself.
Mix buses
To help reduce latency the PRO Series has only four time zones for the primary channel
types, with the interconnecting buses being restricted to the intervening time. The time
zones and their channel associations are as follows:
• First time zone Input channels, including aux inputs set to input channel mode.
• Interval between first and second time zones Aux bus.
• Second time zone Aux Channels, including aux inputs that are set to effects
return mode.
• Interval between second and third time zones Master bus.
• Third time zone Master outputs.
• Interval between third and fourth time zones Matrix bus.
• Fourth time zone Matrix outputs.
This differs from traditional analogue consoles, where it is often possible to mix four or
five times through a system, as latency is not an issue. However, this system has the
advantages of being able to route directly from inputs to matrix output — one bus to
another — and offering more flexible bus types (stereo, mono, aux, sub, mix minus
etc.).
In this system, all inputs are automatically time aligned, so there is no comb filtering,
which is often a problem with other digital consoles.
Automation 33
PRO Series Live Audio Systems
Owner’s Manual
For details of the bus types and their options, see Table 24 “Definition of primary
buses” on page 417.
Automation
The automation system can store and recall up to 1000 snapshot scenes. These contain
the setting values for every control on the control centre (excluding some of the
monitor section). Scene recall (and store) can be ‘scoped’ such that only the areas that
you want to recall (or store) are affected, while all other controls remain in their current
state.
The PRO Series can also recall/store operational preferences, so that its operation can
be configured to suit a particular application. For example, you can choose whether or
not to navigate screens on the ‘touch’ of controls, or as part of snapshot recall.
For theatre applications, channel settings can be recalled (across all scenes) from a
library of presets. This complexity allows a generic show to cope with differing
performers on a night-by-night basis, which is common in theatres.
Automation is powerful, but also dangerous, so the PRO Series has operator
lock/unlock. Therefore, accidental changes during control centre operation are
extremely unlikely.
MIDI and GPIO input/output are provided, as well as the ability to fire and respond to
contact closures per scene.
The ‘next’ LCD button has been positioned close to the VCA faders and has been
purposely designed so as to be distinct from other functions.
Processing elements
For details of the processing elements of the PRO Series, see “Processing” on page 20
and “PRO Series main processing functions” on page 364.
34 Chapter 3: About The Control Centre
PRO Series Live Audio Systems
Owner’s Manual
PRO Series Live Audio Systems
Owner’s Manual
Volume 1:Getting Started
37
PRO Series Live Audio Systems
Owner’s Manual
Chapter 4: Setting Up The System
This chapter shows you how to set up a live audio system to its default configuration.
Note: If you want to set up the system using a configuration other than the default,
please contact Midas Technical Support for details.
Initial set-up procedure
Initial system set-up basically comprises:
• Unpacking and checking the equipment — see “Unpacking the equipment” on
page 37.
• Making up a rack — see “Making up a rack” on page 37.
• Connecting up the equipment — see “Wiring instructions” on page 38.
• Powering the equipment — see “Powering the system” on page 42.
• Initial patching — see “Setting up the I/O rack devices” on page 92. It is
important to set up the type of snakes connected in the system.
• Configuring the rack unit(s) — see “Setting up the ID of the unit(s)” on page 44.
Unpacking the equipment
After carefully unpacking the equipment, save all packing materials, as they will prove
useful should it become necessary to transport the equipment later.
Inspect the equipment carefully for any sign of damage incurred during transportation.
It has undergone stringent quality control inspection and tests prior to packing and was
in perfect condition when it left the factory. However, if the equipment shows any signs
of damage, notify the transportation company without delay. Only you, the consignee,
may institute a claim against the carrier for damage during transportation.
Making up a rack
In the standard supply, the rack supplied with the your system is fully fitted with the
DL371 Audio System Engine unit and the I/O unit(s) appropriate for your system.
However, should you wish to re-configure the system to suit your own needs, take note
of the rack requirements as detailed in the following subsection.
Outboard equipment rack requirements
To ensure the correct installation and function of the outboard equipment, any rack has
to meet the following general requirements:
• Shock mounting (for non-installation environments) The rack must provide
adequate shock protection of the units it houses by incorporating
appropriately-designed shock protection methods. For example, a foam-suspended
rack or a frame suspended on anti-vibration mounts.
• Ventilation The PRO Series rack units have been designed such that their internal
ventilation airflow is drawn in through the front of the unit and expelled though the
rear. To facilitate this, rack design must ensure that cool air can flow freely through
the rack in the same direction, that is, in through the front of the rack and out
38 Chapter 4: Setting Up The System
PRO Series Live Audio Systems
Owner’s Manual
through the rear. Situations where the air flows in a circular direction around and
through a PRO Series unit must be prevented. Midas recommends that racks with
fully opening front and rear doors are used.
Caution!
Never combine units in the same rack that have been designed for
a ventilation air flow direction other than that designed for the
Midas units. To avoid this, we recommend that any non-Midas
units are housed separately.
• Rack mount supports Always secure the rear of the PRO Series units to the rack
via their rear rack mount support brackets. These brackets are fitted to every PRO
Series unit and are recommended for use in touring applications. The rack mount
support fixing hole centres are at a depth of approximately 395 mm from the front
panel.
Note: The rack mount support fixing hole centre depth from the front panel of the
DN9696 Recorder may be slightly different.
• Handles on rack case You must ensure that there are sufficient external handles
fitted to the rack casing to enable the rack to be manoeuvred easily and safely, and
by the number of personnel suitable for the task. Also, these handles must be fit for
purpose.
• Clearance at rear of units Ensure an adequate clearance at the rear of the units
to provide sufficient free space to enable the cables to achieve their minimum bend
radius.
• Securing the cables We recommend that the cables at the rear of the units be
tidied using lacing bars and cable ties. This should provide optimum access to the
rear of the units for connecting other cables, switching the units on/off etc., and also
to give maximum visibility of the units’ LEDs for determining communication status,
link status, condition of audio etc.
Note: The above requirements also apply to any other Midas and Klark Teknik units,
such as the DL431 Mic Splitter.
Wiring instructions
Important:
The control centre and all of the DLnn1 units have Volex locking type plugs
fitted on their supplied mains cables, which plug into their mains IEC
connectors. When fitted properly the Volex plug locks into place, preventing it
working loose, or being inadvertently knocked loose or pulled out. For details
of how to fit/remove a Volex plug, see “Power” on page xvii.
Basically, to connect the system equipment together all you have to do is to connect
the control centre to the DL371 Audio System Engine using the Cat 5e or fibre optic
snake; the racks units should already be connected together when you receive them.
>> To connect the PRO Series Control Centre to the DL371 Audio System
Engine
1 At the rear of the PRO Series Control Centre, connect the fibre-optic or copper
snakes to the optical or copper connectors, respectively, in the snake X and
snake Y sections.
2 At the rear of the DL371 Audio System Engine, connect the two snakes to the
appropriate connectors (optical or copper) in the snake X and snake Y
sections.
Wiring instructions 39
PRO Series Live Audio Systems
Owner’s Manual
Figure 7: Standard PRO3 system configuration
DL371 Audio
System Engine
(4 x AES50
expansion ports)
Rack (the DL251 and
DL371 units are
typically located in a
single 14U rack)
Maximum 100 m,
typically 0.5 m
(N+1 redundant
AES50)
Cat 5e snakes (100 m, bi-directional,
192 + 192-channel)
PRO3 Control Centre
(control surface, router, 8 x inputs, 8 x outputs, 8 x insert
Jack I/O pairs and 6 x monitor outputs)
DL251 Audio System
I/O (48 x inputs and
16 x outputs)
Mix position
Stage
3 x AES50 expansion
ports
40 Chapter 4: Setting Up The System
PRO Series Live Audio Systems
Owner’s Manual
Figure 8: Standard PRO6 system configuration
3 x AES50 expansion
ports
DL371 Audio
System Engine
(4 x AES50
expansion ports)
Rack (the DL351 and
DL371 units are
typically located in a
single 14U rack)
Maximum 100 m,
typically 0.5 m
(N+1 redundant
AES50)
Dual cable redundant HyperMAC
(fibre optic or copper)
PRO6 Control Centre
(control surface, router, 8 x inputs, 8 x outputs, 8 x insert
Jack I/O pairs and 6 x monitor outputs)
DL351 Modular I/O
(56 x inputs and
8 x outputs)
Copper
Fibre optic
Mix position
Stage
Wiring instructions 41
PRO Series Live Audio Systems
Owner’s Manual
Standard PRO9 system configuration
DL371 Audio
System Engine
(4 x AES50
expansion ports)
Rack (the DL351, DL371
and DL451 units are
typically located in a
single 14U rack)
Maximum 100 m,
typically 0.5 m
(N+1 redundant
AES50)
PRO9 Control Centre
(control surface, router, 8 x inputs, 8 x outputs, 8 x insert
Jack I/O pairs and 6 x monitor outputs)
DL351 Modular I/O
(56 x inputs and
8 x outputs)
Mix position
Stage
DL451 Modular I/O
(24 x inputs)
3 x AES50 expansion
ports
Dual cable redundant HyperMAC
(fibre optic or copper)
Copper
Fibre optic
42 Chapter 4: Setting Up The System
PRO Series Live Audio Systems
Owner’s Manual
Powering the system
The following details the recommended power up and power down procedures for the
system.
Note: If you are in any doubt as to how to switch the rack units on/off, refer to their
operator manuals.
>> To power up the system
Important Note:
DO NOT switch on the speaker sub-system until after the start-up of the
system has been completed.
After all system interconnections have been made (see “Wiring instructions” on
page 38), start up the system by doing the following:
1 Make sure that all of the system equipment is switched off, such as the control
centre, speaker sub-system, DL371 Audio System Engine unit and I/O unit(s).
2 Switch on the control centre (see “To switch on the control centre” on page 43).
3 In the master bay of the control centre, move all of the monitor and master
channel faders to the minimum position and mute all of the master channels (see
section F in Figure 5 “Main areas of the control surface” on page 29).
4 Power up the other system equipment, such as the DL371 Audio System Engine
unit and I/O unit(s). This can be done in any order you like.
5 After the status indicator at the top of each GUI screen has
changed to green (shown right), switch on the speaker
sub-system.
6 Switch on the audio source and start playing the audio.
7 On the control centre, check that the audio inputs are routed to the master
channels. Then, unmute the master channels and gradually increase their faders
while listening to the sound levels from the speakers.
If there is no sound at all coming from the speakers when the faders are at maximum,
move the faders to below the 0dB level and check if the audio is muted somewhere
along the input paths and also check that the individual speakers are switched on. If
there is still no sound from the speakers, see “No audio” on page 393.
>> To power down the system
Important Note:
BEFORE switching off any of the system components, don’t forget to mute the
audio from the speakers and switch off the speaker sub-system.
1 Mute the audio from the speakers and switch off the speaker sub-system.
2 Switch off the I/O unit(s).
3 Switch off the DL371 Audio System Engine unit.
4 Switch off the control centre (see “To switch off the control centre” on page 43).
Switching the control centre on/off 43
PRO Series Live Audio Systems
Owner’s Manual
Switching the control centre on/off
Carry out the following to switch the control centre on or off in a safe manner,
observing all WARNINGS and Cautions.
>> To switch on the control centre
Caution (1)!
A minimum of two power supply modules must be supplying power
to the control centre for correct operation.
Caution (2)!
Before switching on, check that all monitor loudspeaker power
amplifiers are turned off or muted.
After connecting up the audio cables, carry out the following:
Switching on the control centre
1 Plug the three mains cables into the mains power outlets.
2 Observing Caution (1)! above, plug the Volex connectors (see “Wiring
instructions” on page 38) of the mains cables into the mains sockets on the rear
of the control centre. (The green LED next to each mains socket will illuminate if
its mains supply is on.)
3 Observing Caution (2)! above, apply power to the control centre by switching
the D.C. POWER switch on. The control centre will boot up and, when the
default GUI screens are displayed, it is ready for use.
>> To switch off the control centre
1 Make sure you have saved any shows, scenes or settings you require (see
“Saving your show files to a USB memory stick” on page 123).
2 At the GUI, choose homePreferencesShutdown System.
3 At the Shutdown ENTIRE system? prompt, click OK.
4 After the shutdown sequence has finished, switch off the D.C. POWER switch
(rear of control centre).
5 Disconnect the mains cables from the rear of the control centre.
Mains
plug
Mains
outlet
Rear of control centre
1
2
3
Mains power on/off LED indicator
44 Chapter 4: Setting Up The System
PRO Series Live Audio Systems
Owner’s Manual
Setting up the ID of the unit(s)
After connecting up your system, you may need to set up the ID of the unit(s) in the
rack, such as the DL351 Modular I/O, DL451 Modular I/O or DL431 Mic Splitter, as each
unit must have its own unique ID number. (This does not apply to the DL251 Audio
System I/O.)
Note: The I/O unit doesn’t have to be connected in the system for you to set up its ID,
as the procedure can be carried out offline.
>> To set up the ID of an unit
Although the programming menu of each type of I/O unit may look slightly different,
the procedure for setting up its ID is basically very similar. For full instructions on how
to set up the ID of each particular I/O unit, refer to its operator manual.
1 If necessary, switch on the I/O unit.
2 Press MENU and hold for approximately two seconds to enter the main menu.
3 If necessary, use the down arrow button to navigate to the set ID option.
4 Press SELECT to enter the set ID option.
5 If necessary, use the down arrow button to navigate to the desired ID number.
6 Press SELECT to select the ID number.
7 Press MENU repeatedly to exit the main menu. (The unit will automatically exit
programming mode after 20 seconds of inactivity, that is, if none of the
programming buttons are pressed within that time.)
PRO Series Live Audio Systems
Owner’s Manual
Volume 2:Basic Operation
Of The PRO
Series
47
PRO Series Live Audio Systems
Owner’s Manual
Chapter 5: Before You Start
This chapter is intended to familiarise you with the control centre by showing you how
to carry out some basic operations in order to get some audio out of it.
Note: As the operation of both input bays is principally the same, this chapter will
generally only show the operation of the 12-channel input bay. However, any
differences in operation between the 4-channel and 12-channel input bays will be
shown.
Please don’t forget that, although this system is a complex, high-tech piece of
equipment, it is very easy to use.
Principles of operation
Control centre operation is based on the concept of colours and groups rather than
‘layering’ or ‘paging’, which is the case with most digital consoles on the market today.
With so many channels available it is far easier to remember them by their
user-configured individual/group colour and name rather than their channel number.
The control surface is populated with instantly recognisable controls that are logically
distributed in major sections, so that all the controls you need to access most of the
time are always on the control surface, while the remainder are only one action away.
You can display all I/O meters, both on the control surface and the GUI, to give instant
monitoring feedback.
Operating modes
You can change certain aspects of control centre operation by assigning different tasks
to certain areas of the control surface. This section will explain the different ways in
which the control surface can operate.
Normal mode
During normal operation the 12-channel input bay is operated from the mix bay
controls and GUI screen, while the controls and GUI screen in the master bay operate
the 4-channel input bay. Both input bays operate in unison and are, in effect, area A.
Note: The 12-channel input bay will always be area A, no matter which operating mode
you are using.
Using the 4-channel input bay as area B
You can assign the 4-channel input bay as area B, thus making both the input bays
independent from each other. This facilitates two-man operation (see “Two-man
operation” on page 122).
48 Chapter 5: Before You Start
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Owner’s Manual
Operating the top output fast strips from the master bay
During normal operation, both rows of output fast strips — which are always
independent from each other — are operated using the controls in the mix bay.
However, you can assign the master bay to control the top row of output strips.
>> To switch control of the output strips to the master bay
Press the right arrow (to right channel) button (see Figure 12 “Output channel
navigational controls” on page 66).
Controlling the mix buses in flip mode
Flip provides a more global approach to mix bus level control. Normally, you can only
use the level control knobs in the channel strips to adjust the signal level of the
aux/matrix mix buses going to the aux/matrix channels. However, by using flip you
have the option of controlling them from either the pan control knobs or the faders in
the input fast strips.
In flip mode the left/right arrow buttons in the upper channel select section scroll
across the input fast strips.
>> To configure the control centre for pan or fader flip
1 At the GUI, choose homePreferencesGeneral.
2 Depending on which option you require, click the option button of one of the
following in the Fader flip section. When an option is selected, it will contain a
red circle:
• “Flip to faders”.
• “Flip to Pans”.
>> To flip mixes to input pan/fader control
With an output selected on the control surface, press FLIP (see Figure 11 “Mix bus
navigational controls” on page 64). The button will illuminate to show you are in ‘flip’
mode. The currently selected mix bus in the input fast strips will change to AuxS1 and,
on the GUI, the background colour of the pans and faders will change accordingly.
Also, the LCD select buttons in the input fast strips will display the current bus mode,
for example, “MONO AUX”.
Hints and tips
• Check what is hidden On the control centre, unlike on an analogue control
surface, some of the settings and parameters will be hidden from view (stored in the
computer memory of the control centre). At various times during a mix we
recommend that you select and view unused parameters to make sure there are no
hidden surprises, for example, a reverb send left from a previous mix.
• Check the Meters screen It is a good idea to frequently monitor the Meters
screen (default display of the master bay GUI), which provides at a glance an
overview of the control centre’s status and operation. It shows all the meters and
the status condition of faders and some switches, such as solos and mutes.
However, some things will still remain hidden.
Saving your work 49
PRO Series Live Audio Systems
Owner’s Manual
Saving your work
We recommend that you save your work regularly while carrying out the procedures
included in this chapter. Not only is this good practise during normal operation, but in
this instance it may save you from losing some set-ups that could prove useful later on.
To do this, create a new show (see “To open the Automation screen” on page 112), and
then continue reading through the remainder of this section, following the instructions
carefully. Save your work at convenient points (see “To create a new scene using the
current settings” on page 115 and “To save a show or create a new one from the
current settings” on page 113).
Saving a show versus storing a scene
It is important to understand the differences between saving a show and storing a
scene.
• Storing a scene saves the current settings of the system to the show file. Scene
data is never updated unless you manually store a scene. The show file remains
unsaved in RAM.
Although the state of the control centre is copied every five seconds, it is not stored
in a scene. Instead, it is placed in the NVRAM (non-volatile random access memory)
of the control centre’s memory, which is a type of RAM that doesn't lose its data
when the power goes off. If the control centre loses power accidentally, these
settings are loaded so that audio parameters are identical, thus avoiding audio level
jumps. When power is lost, the showfile loaded (if any) will not
subsequently be restored, and any unsaved changes to it will be lost.
• Saving a show copies the show file onto the internal solid-state disk of the control
centre. This provides you with a ‘permanent’ copy, provided you shut down the
system properly as detailed in the following section.
Shutting down the control centre properly
When switching off the control centre, we recommend that you use the shutdown
option of the GUI menu (see “To switch off the control centre” on page 43).
By using shutdown, the cached copy of the show data, which is maintained by the
system, is automatically stored. Shutdown then uses the current showfile, NVRAM data
and cache files to restore the control centre to exactly the same state as at power
down; even to the point of loading the unsaved show and placing you at the correct
scene, with non-stored scene data at the control surface.
If you don’t use the Shutdown option the audio parameters are still restored, but the
show and show status (saved/unsaved) cannot be restored automatically. You must
manually reload the show, and any unsaved changes will be lost.
50 Chapter 5: Before You Start
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51
PRO Series Live Audio Systems
Owner’s Manual
Chapter 6: Working With The Control
Centre
This chapter is intended to familiarise you with control surface and GUI controls of the
control centre.
Although nearly all of the operations done via the control surface of the PRO Series
Control Centre can be replicated via the GUI, the emphasis in this chapter — and
throughout the manual — is on the former method. This is because, generally, control
surface operation is quicker and more intuitive than using the GUI. However, GUI
methods will be included where they are anomalous or if there is no control surface
equivalent.
The navigational controls, such as quick access buttons and scroll buttons, are
described in Chapter 7 "Navigation" on page 59, and the ones specifically for
automation can be found in “Managing the scenes” on page 114.
About the PRO Series controls
Although the control centre is populated with many familiar analogue-type controls
there are some that may be new to you, particularly the ones relating to navigation,
grouping and the GUI. The following table shows some of the controls that can be
found on the control surface of the PRO Series.
Type Description Example(s)
Pushbutton Generally two-state, that is, on/off or
enabled/disabled, and backlit or with an integral LCD
for status indication. In all cases, an illuminated
pushbutton on the control surface (or GUI) is
on/enabled and an extinguished one is off/disabled,
unless otherwise stated.
Control knob In general, the control knobs (rotary controls) are
touch-sensitive, their adjustment being shown on the
GUI. Some control knobs are backlit to help identify
their role and what they control.
Fader The high quality motorised faders are, similarly to the
control knobs, touch-sensitive so that their operation
can be tracked and simulated on the GUI.
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About channel operation
During normal operation the task of controlling the input (12 channels), aux, return and
matrix channels is allocated to the two bays on the left. The two bays on the right
control the input (4-channel) and master channels.
This task allocation applies similarly to the GUI screens. However, you can control any
channel from either GUI screen. This is done by navigating the channel to the GUI
channel strip via the GUI menu; control is also then available via the local channel strip
on the control surface.
About GUI operation
This section explains the basic procedures you can perform at the GUI screens. In
general, you will control and operate the GUI by combining the operations described
here.
Figure 9: Controlling the GUI
The GUI is not just an additional feature that enhances control surface operation, it is a
fully-featured tool in its own right. Not only does it show what is happening on the
control surface, but all of its controls are functional. The GUI contains most of the
controls found on the control surface and, in addition, has features that allow
configuration of the PRO Series and provide extra functionality.
LED Show status indication. An illuminated LED shows an
active (on) or enabled condition and, when
extinguished, it indicates an off or disabled condition.
Meter All of the input fast strips, master fast strips and
monitors have a peak level meter. There are also
ones for the centre speaker and subwoofer of the 5.1
surround panning. In addition, each input fast strip
has a gain reduction meter for both the compressor
and gate.
Meters are included on a number of the GUI screens.
The ‘all meters’ display of the master bay’s default
GUI screen (see Figure 20, “Layout of the GUI
screens,” on page 116) provides an overview of what
is happening in the PRO Series by displaying meters
for all of the channels (inputs, outputs, monitors
etc.).
Type Description Example(s)
Trackball
Right trackball
button
Left trackball
button
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The GUI is operated via the primary navigation zone and is principally the same as
using a laptop PC, although you can operate either screen using an external USB mouse
instead (see “Using an external USB mouse” on page 244). A USB keyboard is plugged
into the PRO Series for text editing.
Each trackball controls the movement of a pointer on its respective GUI screen (see
Figure 9). The left trackball operates the mix bay GUI screen and the right one
operates the GUI screen in the master bay. Each trackball has two buttons, which have
similar functionality to the buttons on a PC/laptop mouse. The left button is used in
click and drag operations, while the right button is generally used for editing and finer
control operations.
Click
Moving the pointer to a specific point of the GUI screen and pressing the left button is
called “clicking”. This is fundamental to GUI operation and forms the basis of many of
its operations, such as switching a button on/off, selecting list and menu items, text
editing etc. Doing the same with the right button is called “right-clicking”.
Drag
Moving the pointer to a specific point of the GUI screen and then pressing the left
button while moving the pointer up/down/left/right is called “dragging”. Dragging is
used mainly to adjust control knobs and faders, and to move sliders (attached to
drop-down lists)—although it is also used to select blocks of connectors when patching
(see “To select a block of patch connectors in the From section” on page 95). The
pointer disappears when the control has been selected to show that it is ready for
adjustment.
Common GUI screen elements
In general, you will see a banner at the top of both GUI screens that contains a number
of elements as follows:
Item Description
1 home button, opens the GUI main menu (see “GUI menu options” on
page 336).
2 Screen navigation buttons (see “To find a GUI screen that you recently
opened” on page 68).
3 Name of current screen.
4 “Not Saved” message appears when the currently selected scene/preset
library file has changes that have not been saved.
5 Title of currently selected scene.
6 status LED, indicates the health and status of the system (see
“Diagnostics” on page 393).
7 Copy and paste buttons (see “Using copy and paste” on page 118).
8 User library buttons (see “User library (presets)” on page 119).
132456 7 8
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Parameter values displayed on touch
You can configure the PRO Series (see “Changing the user interface
preferences” on page 250) so that the GUI displays the current
value (and dimension) of the control being adjusted.
Operating the GUI screen controls
This section shows you how to operate GUI screen elements, such as buttons, control
knobs, drop-down lists and sliders.
>> To switch a GUI button on/off
Click the button. If it has a status indicator, this will illuminate/extinguish to show that
it is on/off, respectively.
>> To adjust a GUI control knob or fader
Use a drag operation. Move the pointer up/down/left/right for adjustment.
Using drop-down lists
Certain configurable name fields, particularly the signal routing ones, have drop-down
lists that offer a number of preset or context-sensitive options to choose from. Long
lists — containing more options than can be displayed simultaneously — have sliders
that allow you to access all the options.
>> To select an option from a drop-down list
1 Click the drop-down arrow. The drop-down
list will unfold to display some or all of its
contents, depending on how many items it
contains.
2 Do one of the following:
• Click the option you require.
• If necessary, scroll the list (see “To scroll a drop-down list” below) to display
the option, and then click it.
>> To scroll a drop-down list
With the drop-down list displayed, do one
of the following:
• Drag the scroll box.
• Click the scroll bar. The scroll box will
‘jump’ in the direction of the click to
another position in the scroll bar.
• Click an up/down scroll arrow. The
scroll box will ‘jump’ in the direction of
the scroll arrow to another scroll bar
position. Clicking a scroll arrow when
the scroll box is adjacent to it has no
effect.
Scroll bar
Scroll arrow
Scroll box
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Spin buttons
Up/down spin buttons let you increase/decrease the attribute or
value of an item. For example, the amount of time a signal is
delayed (see “Input channel delay (GUI only)” on page 284).
About windows
There are three main types of window you
will encounter when using the GUI, as
follows (an example of each is shown in the
diagram on the right):
• Properties windows contain elements
that you can select or edit, such as
options, lists, tick boxes, text fields etc.
• Message windows contain text that can
be a prompt or an error message.
Generally, this type of window will
contain an OK and a CANCEL button by
which you can acknowledge the
message or cancel the operation,
respectively. Also, some message
windows contain a user-editable text
field, as shown in the example (right).
• List windows have a number of user-selectable options in the form of a list, and
some may also include an OK and a CANCEL button.
Similar to a window found on a PC running a Windows-based operating system,
windows can be moved around the screen, which is useful if you need to see what is
behind the window. Also, each window has a close (X) button at its upper-right corner.
>> To close a window
Do one of the following:
• If the window has an OK button, and you have made the requisite changes in the
window or you wish to acknowledge its message, click OK.
• If the window has a CLOSE button, click CLOSE. Changes made in this type of
window update the control centre ‘live’, that is, as soon as you make them, so
clicking CLOSE merely closes the window.
• If the window has a CANCEL button, and you wish to cancel any changes or abort
the operation, click CANCEL.
• Click “(X)” at the upper-right corner of the window.
>> To move a window
Use drag, first clicking on the window’s blue bar (top) and then dragging the window
where you want it.
Properties
window
List window
Message window
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Using the GUI menu
You can open the GUI menu at either GUI screen or you can go directly a GUI menu
screen by using a screen access button.
Throughout this manual, menu/submenu option selection sequences are shown in the
following format (for example, for choosing the general preferences screen):
home
PreferencesGeneral
>> To open the GUI menu
Click home.
Opening the GUI menu
>> To select a GUI menu option
Click the menu option, for example, Monitors. The background of the menu option will
change to blue when it is ready for selection.
>> To open the submenu of a GUI menu option
Move the pointer over the arrow to the right of the desired menu option. The submenu
will open automatically to the right of the arrow.
GUI menu
Right arrow
shows that the
option has a
submenu
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>> To open a GUI menu screen using a screen access button
In the primary navigation zone, press a screen access button to open the first screen
(printed to the right of the button). Press it again to open the second screen.
These two examples show you how to use the screen access buttons to open the
Automation screen (single press) and the Graphic EQs screen (two presses). These
buttons take you directly to the screen you want.
Text editing
A keyboard is used to type in text on the GUI, for example, to configure input and
output channel names. Editable text on the GUI is contained in text boxes, which
generally consist of a single line of limited length. Although all text editing can be done
using the normal keyboard functions, the GUI can be used to assist you, for example,
by highlighting portions of text (using drag).
>> To enter/edit text via the keyboard
1 At the GUI, click in the text box to place an insertion point in it. The pointer will
change to an I-beam shape.
2 Using the keyboard, type in the new text. If the text box already contains some
text, you can delete this first or edit it, which can be done via the keyboard or by
using the cut, copy and paste options after right-clicking.
3 Press ENTER on the keyboard to exit the text box (or click on an empty area of
the GUI screen). The pointer’s shape will change back to an arrow.
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Chapter 7: Navigation
This chapter introduces you to navigation on the control centre and shows you how to
use its navigational tools.
For information on navigating the scenes in automation, refer to “Managing the scenes”
on page 114.
An introduction to navigation
The control centre provides you with unique navigational controls to quickly and easily
access the items, such as channels, buses, groups and processing areas, that you will
require for mixing.
Navigation is an important feature of the control centre. One of the advantages digital
consoles have over analogue ones is that their channel count is not limited by the
control surface hardware. However, this means that only a certain amount of channels
can be at the control surface at any time, while the others are ‘hidden’. So, navigation
is required to access these hidden channels whenever you need them.
Note: The way the control centre is set to operate may alter the function of some of the
navigational controls. For more information, see “Operating modes” on page 47.
Navigation is primarily via the control surface, although the GUI may provide an
alternative and also has some unique navigational features of its own.
Navigating the input channels
The input channels are grouped into ‘banks’, with each bank containing four
consecutively numbered channels.
Shows the number of control centres you would need to display all of the inputs of the
PRO6 simultaneously and helps to illustrate how the inputs populate the control surface
(and GUI) in banks of four
During normal operation, four banks of input channels populate the input bays, and
these are displayed across the control surface in ascending order from left to right.
1-12 13-16 17-28 28-32 33-44 45-48 49-56
Three banks of four channels (12 channels), which
are also shown on the mix bay GUI screen
Single bank of four channels, which are also shown
on the master bay GUI screen
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Figure 10: Input channel navigational controls
Item Element(s) Description
1 Quick access
button —
channel strip
Quickly selects the local processing area of the selected
channel or channel pair, but doesn’t affect channel
selection. Illuminates (blue) when active.
2 Quick access
button — input
fast strip
Quickly selects the local input channel and assigns the
local processing area to the mix bay channel strip.
Illuminates (blue) when active.
1
2
3
4
Mix bay channel strip
Input fast
strip
7
6
8
7
9
PRO3 and
PRO6
PRO9
VCA
5
7
6
8
7
9
PRO3 and
PRO6
PRO9
10 10
12
11
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3 LCD select
button — input
fast strip
Selects the local input channel. Has a backlit LCD display
(with user-configurable backlight colour), which shows
channel name etc. When selected, the display changes
to a ‘negative’ image.
4 LCD select
button — VCA/
POP group
Selects the VCA/POP group, unfolding the group
members to the control surface. Has a backlit LCD
display (with user-configurable backlight colour), which
shows group name.
This button is also used for setting up the group (see “To
assign channels to a VCA/POP group” on page 104).
5 Channel select
keys and button
The INPUT button in the channel type section is used
with the number keys in the lower channel select
section to select a specific channel number, assigning it
to the control surface (see “Fault finding a problem
channel” on page 69).
6 ALIGN button Navigates the currently selected input channel to the
local input bay (see “To navigate the selected input
channel back to the control surface” on page 62).
7 scroll by 4
buttons
These left and right scroll buttons scroll through the input
channels four channels (one bank) at a time.
8 LEDs PRO3 and PRO6: These LEDs illuminate to show you
which inputs currently populate the control surface. Each
LED represents a bank of four input channels.
When using VCA/POP groups, an LED will flash if its bank
contains a channel(s) that are members of the selected
group, but don’t currently populate the control surface.
9 LEDs PRO9: These LEDs illuminate to show you which inputs
currently populate the control surface (see diagram
below).
When using VCA/POP groups, either of the two LEDs on
the right will flash if any of their banks contain a
channel(s) that are members of the selected group, but
don’t currently populate the control surface.
10 B button Assigns the 4-channel input bay as area B, which then
operates with the master bay channel strip.
11 Display Shows the number of the currently selected channel and
its type.
12 scroll by 1
buttons
These left and right scroll buttons scroll through the
channels one at a time. Channel selection follows the
scrolling.
Item Element(s) Description
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To cater for the higher channel count of the PRO9 the LEDs to the right of the input
select section (A and C) illuminate to show whether the numbered LEDs to the left are
referring to the lower (B) or higher (D) numbered banks of inputs, respectively.
>> To assign an input channel to the control surface
Do one of the following:
• Scroll buttons Scroll the desired input channel to the control surface using the
scroll by 4 buttons in the input select section.
• VCA/POP group buttons If the desired input channel is in a group, press its
VCA/POP group LCD select button.
You can use the GUI menu to select any VCA/POP group you want via the
home
Control GroupsVCA Groups option.
>> To select an input channel
With the desired input channel currently assigned to the input fast strips on the control
surface, do one of the following:
• LCD select button Press the LCD select button in the desired input fast strip. This
will assign the input channel to the local channel strip and its input channel
overview to the GUI channel strip.
• Quick access button Press any quick access button in the desired input fast strip.
This will assign the input channel to the local channel strip and its local processing
area to the GUI channel strip.
• Touch sensitive control knobs Touch/operate one of the control knobs in the
desired input fast strip. This will select the input channel.
You can use the scroll by 1 buttons in the upper channel select section to scroll
channel by channel to go to the input channel you want. You can scroll all of the input
channels using this method and the desired input channel doesn’t have to be assigned
to the control surface initially. Channel selection follows the scrolling.
You can use the GUI menu to select any input channel you want via the
home
Input Channels option.
>> To navigate the selected input channel back to the control surface
If you have navigated the currently selected input channel away from the control
surface, you can bring it back by pressing ALIGN.
C
A
D
B
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>> To select a processing area
You may want a specific processing area of an input channel assigned to the local
channel strip, for example, to carry out processing or for copying its parameters to
another input channel.
Do one of the following:
• Quick access button (channel strip) If the input channel you want is currently
selected at the control surface, press the quick access button local to the desired
processing area in the channel strip.
• Quick access button (input fast strip) If the input channel you want is currently
at the control surface, but is unselected, press the quick access button local to the
desired processing area in its input fast strip.
You can select a processing area via the input channel overview in the GUI channel
strip by clicking within a non-control area of the desired section.
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Navigating the mix buses
The input channels each have aux and matrix mix buses.
Figure 11: Mix bus navigational controls
Item Element(s) Description
1 Quick access
button — input fast
strip
This button in the mix section of the input fast strips
quickly selects the local mix area of the selected
channel. Illuminates (blue) when active.
2 Quick access
button — mix
section
This button in the mix section of the mix and master
bays quickly selects the bank of the currently selected
aux/matrix bus, assigning it to the local channel strip
on the control surface, and also assigning the bus
processing area to the local GUI channel strip.
Illuminates (blue) when active.
3 scroll by 8
buttons
These up and down scroll buttons scroll through the
mix buses in groups of eight (one bank) at a time.
4 scroll by 1
buttons
These up and down scroll buttons scroll through the
mix buses one at a time. Mix bus selection follows
the scrolling.
Mix sections
(mix bay)
Input fast
strip
Mix sections
(master bay)
34 34
2
1
2
5
5
6
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>> To navigate a mix bus to the control surface
Do one of the following:
• Scroll to the desired mix bus using the scroll by 1 buttons in the mix section. Mix
bus selection follows the scrolling.
• Scroll the desired bank of mix buses to the control surface using the scroll by 8
buttons in the mix section.
>> To select a mix bus
Do one of the following:
• Scroll buttons Scroll to the desired mix bus using the scroll by 1 buttons in the
mix section. Mix bus selection follows the scrolling.
• Touch sensitive control knobs With the desired mix bus assigned to the mix
section on the control surface, touch/operate its control knob.
>> To navigate the mix bus processing area to the channel strip
Press the quick access button in the mix section of the desired input fast strip. This
does not affect the current population of the output fast zone.
You can select an aux bus or matrix bus processing area on the GUI by clicking on the
title of the desired bank of mix buses in the input channel overview of the GUI
channel strip (see Figure 17, “Typical sends sections of the mixes in the GUI channel
strip,” on page 106).
5 Display Shows the number of the currently selected mix bus
and its type.
6 FLIP button See “Controlling the mix buses in flip mode” on
page 48.
Item Element(s) Description
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Navigating the output channels
The output channels comprise auxes, returns, matrices and masters.
Figure 12: Output channel navigational controls
Item Element(s) Description
1 Quick access
button — master
channels
Quickly selects the local master channel. Illuminates
(blue) when active.
2 Quick access
button — output
fast strip
Quickly selects the local output channel. Illuminates
(blue) when active.
2
1
Master bay channel strip
Master channels
Output fast
strip
3
3a
6
5
7
8
4
3a
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>> To assign output channels to the control surface
Do one of the following:
• Channel type buttons Press the desired channel type button to assign its bank of
eight outputs to the local row of output fast strips on the control surface. For
example, press the upper RET button to assign returns 1 to 8 to the upper row of
output fast strips.
• Scroll buttons Scroll the desired output channel to the control surface using the
scroll by 1 buttons in the channel select (upper) section.
You can assign a bank of channels to the output fast strip via the GUI. Similarly to the
layout of the control surface, the overview GUI screen has channel select buttons to the
right of the two rows of outputs (see Figure 6, “Typical Overview screen (default of the
mix bay GUI screen),” on page 30). Click the desired channel type button to assign its
bank of outputs to the row on the left. For example, click the lower AUX button to
assign auxes 1 to 8 to the lower row of outputs.
>> To select an output channel
Do one of the following:
• Quick access button (output fast strip) To select an output channel that is
currently assigned to the output fast strips, press its local quick access button in the
desired output fast strip. This will assign the output channel to the local channel
strip.
• Quick access button (master channel) To select a master channel, press its
local quick access button. This will assign the master channel to the local channel
strip.
• Touch sensitive control knobs Touch/operate the control knob in the desired
output fast strip. This will select the local channel and assign it to the local channel
strip.
3 Channel select
buttons
Each button assigns its bank of channels to the eight
output fast strips to the left.
PRO3 only: The MTX buttons (3a) for output
channels 9 to 16 are not used.
4 Right arrow button See “Operating the top output fast strips from the
master bay” on page 48.
5 Quick access
button — channel
strip
Quickly selects the local processing area of the
selected channel or channel pair, but doesn’t affect
channel selection. Illuminates (blue) when active.
6 Channel selection
keys and buttons
The buttons in the channel type section (except the
INPUT button) are used with the number keys in the
channel select (lower) section to select a specific
output channel number, assigning it to the control
surface (see “Fault finding a problem channel” on
page 69).
7 scroll by 1
buttons
These left and right scroll buttons scroll through the
channels one at a time. Channel selection follows the
scrolling.
8 Display Shows the number of the currently selected channel
and its type.
Item Element(s) Description
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You can use the GUI menu to select any output channel you want via the
home
Mix & Outputs option.
>> To select a processing area
You may want a specific processing area of an output channel assigned to the local
channel strip, for example, to carry out processing or for copying its parameters to
another output channel. To do this, provided the output channel is currently selected at
the control surface, press the quick access button local to the desired channel strip’s
processing area to select it.
You can select a processing area via the GUI by clicking on a non-control area within
the desired section of the ‘overview’ display (aux send, aux return, matrix or master) in
the GUI channel strip.
Navigation via the GUI
The GUI has unique navigational tools by which to return to a channel ‘overview’ display
from one of its processing areas in the GUI channel strip, and also to browse through
the GUI screen display history.
>> To navigate back to a channel’s overview display from one of its processing
areas in the GUI channel strip
Click the up arrow.
>> To find a GUI screen that you recently opened
Use the back/forward browser buttons to do one of the following:
• To return to the GUI screen you have just
opened, click the back button.
• To open one of the GUI screens you have
recently visited, click the back/forward
buttons. The back button will take you back
through your browser history, while the
forward button goes the opposite way.
The back/forward buttons are similar to those on standard browsers used on any PC.
Up arrow
Back button
Forward button
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Fault finding a problem channel
If you know the number of the channel that has a problem, you can quickly navigate it
to the control surface by typing in its channel type and number via the lower channel
select (lower) and channel type sections.
>> To select a channel using its number
1 In the channel type section, press the button of the desired type. For example,
if the channel is an input, press INPUT.
2 In the channel select (lower) section, type in the channel’s number. For
example, press 4 and then 7 for channel 47.
3 Press ENTER.
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Chapter 8: Patching
This chapter describes the patching feature of the PRO Series.
Introduction
Patching is a GUI-only feature that lets you carry out all system routing requirements.
The GUI main menu has a Patching option that takes you to the Patching screen,
which contains all of the available patching connectors in the system. This screen
provides an easy-to-use interface, where you can select your source and destination
patching options, facilitated by a panel of function buttons. Additionally, the Patching
screen lets you set up the units (devices). For example, you can adjust the analogue
gain, select +48V phantom voltage etc., of the line I/O units connected in the system.
Terms used in PRO Series patching
The following is an explanation of the patching terms:
• Checkpoint A patching data store point, created by clicking CHECKPOINT.
• Destination The patch connector to which a signal is routed.
• Device A diagram in the I/O tabs that represents a physical rack unit, such as a
line I/O, mic splitter, DN9696 etc.
• Drag A method of selecting a block of source patch connectors in the From section
of the Patching screen (see “To select a block of patch connectors in the From
section” on page 95).
• From section The leftmost area of the patching screen that contains the source
patch connectors.
• Patch connector Any tab patching point, for example, an XLR connector, bus,
sidechain compressor etc.
• Patching The process of routing a channel/signal from a source to a
destination(s).
• Source The patch connector from which a signal is patched.
• Tab A ‘sheet’ in the From and To sections that contains a specific group of patch
connectors.
• To section The rightmost area of the Patching screen that contains the destination
patch connectors.
About the Patching screen
The Patching screen has two main areas: a function button panel towards the top of
the screen and a patching area below. The function buttons provide the required
patching functionality and allow I/O tab devices to be set up. The patching area
provides access to all the patch connectors.
The patching area is split equally into two independent sections, called From and To,
which contain the source and destination patch connectors, respectively. The patch
connectors are grouped on tabs according to type. Only one tab per section will be
visible at any time.
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The I/O tabs represent the Stage and FOH racks, and contain graphical representations
(devices) of the units connected in those racks.
Figure 13: Patching screen
Item Element Description
1 SINGLE button Lets you patch a single source to a single destination
or multiple destinations. See “Single patching
(SINGLE)” on page 96.
2 SEQ. button Lets you select multiple sources and patch them one
by one (see “Sequence patching (SEQ.)” on page 97).
3 AUTO button Lets you select a block of sources and patch them all
automatically, simply by selecting a single
destination. Any existing patches within the
destination range will be replaced by the new ones.
See “Automatic patching (AUTO)” on page 97.
4 NONE button Clears all currently selected patch connectors from all
tabs in the From and To sections.
5 LIST button Changes the tooltip type from standard to list when
carrying out a sequence patching operating via the
SEQ. button (see “List tooltip” on page 88).
6 CHECKPOINT
button
Sets a patching store point, or snapshot, that
contains the patching status at that instant. Each
time CHECKPOINT is clicked the previous checkpoint
is overwritten.
16
14
1 2 3 4 5 6 7 8 9 10 11 12 13
15
17
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>> To access the Patching screen
Do one of the following:
• At the GUI, choose homePatching.
• Press the patching/metering button in the primary navigation zone.
• At the GUI, click a src (source) or dest (destination) button. The Patching screen
will open at the appropriate tab/configuration window.
7 RESTORE button Reverts patching status to the last checkpoint or, if no
checkpoints have been created, it will revert patching
status to the power up condition. All patching done in
the intervening period will be lost.
8 UNDO button Undoes the latest single patch, even if it was part of a
multiple patching operation. Repeated clicks will
undo the preceding patching operations, going back
to the last checkpoint, or power up if no checkpoints
have been created.
9 REDO button Redoes an undo. This can be repeated for each undo
in the previous undo operation.
10 CLEAR SEL.
button
Clears all current selections and their patches.
Important:
Unlike the NONE button, which merely removes
the current selections (highlighted in yellow),
CLEAR SEL. goes a step further by removing the
patch as well. This will stop any audio that may
have been going through the patched signal.
11 CLEAR button Clears all patching (see “To clear all current patching”
on page 98).
Important:
Exercise great caution when using this function.
Observe the warning that appears after clicking
this button.
12 CONFIG button Opens the AES50 Device Configuration window,
from where you can set up the I/O tabs in the
Patching screen (see “Typical AES50 Device
Configuration window” on page 92).
13 STORE PRESET
and LOAD
PRESET buttons
These are user library (preset) function buttons (see
Chapter 24 "User Libraries (Presets)" on page 235).
14 Title section Section titles and tab names.
15 Patching area Contains all of the patch connectors on tabs.
16 To section Houses the tabs that contain all of the patch
connector destinations (see Table 4 “Patching screen
tabs” on page 75).
17 From section Houses the tabs that contain all of the patch
connector sources (see Table 4 “Patching screen tabs”
on page 75).
Item Element Description
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What the Patching screen symbols mean
The following table gives a description of all the symbols that appear on the Patching
screen tabs.
Symbol Description
During patching, this triangle appears under a tab name when the tab
contains a selected patch connector.
Shown at the top of the channel patch connectors, this box aids channel
identification by matching the user-configured colour for that channel.
Insert return patch connector.
Insert send patch connector.
Bus or channel source patch connector.
Bus or channel destination patch connector.
Female XLR chassis patch connector (input).
Male XLR chassis patch connector (output).
Jack patch connector.
Non-functional patch connector, that is, one that cannot be patched.
Compressor sidechain input patch connector.
Gate input patch connector.
DN9696 recorder patch connector.
Set-up button, which opens the device configuration window (see
“Configuring the devices” on page 89 for details).
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About the tabs in the From and To sections
Each tab in the From and To sections of the Patching screen contains graphical
representations of the PRO Series source and destination patch connectors,
respectively. For details of where you can access the tab sheets in the From and To
sections from, see “Navigating to the Patching screen” on page 85.
Table 4: Patching screen tabs
Tab name Section Description Example
Stage I/O From The Stage I/O tab (see
Figure 14, “Typical AES50 Device
Configuration window,” on
page 92) contains the devices
fitted in the Stage rack (see
“System components” on
page 14). For information on what
devices can be fitted in the I/O
rack, see “About the devices on
the stage and FOH I/O tabs” on
page 85.
FOH I/O From The FOH I/O tab contains the
devices fitted in the FOH rack (see
“System components” on
page 14). For information on what
devices can be fitted in the
I/O rack, see “About the devices
on the stage and FOH I/O tabs” on
page 85.
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Busses From The Busses tab allows routing
from the auxes, matrices and
master outputs.
Dir. Out
(Direct Out)
From The Dir. Out (Direct Out) tab lets
you patch any of the input
channels internally (for example,
to an effect) or provides a way out
of the PRO Series Control Centre
via a line I/O unit.
Tab name Section Description Example
PRO3 only
PRO6 and PRO9
PRO3 only
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Ins Sends
(Insert Sends)
From The Ins. Sends (Insert Sends) tab
allows any of the input and output
channels to be routed, primarily to
an effects device (internal or
external).
Tab name Section Description Example
PRO6 only
PRO9 only
PRO3 only
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Effects From The Effects tab allows patching
from any of the internal effects.
Each effect can support up to eight
inputs and outputs, depending on
which effects device is loaded.
Stereo effects use the first two
inputs/outputs.
Tab name Section Description Example
PRO6 only
PRO9 only
PRO3 only
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Mon. (Monitor) From The Mon. (Monitor) tab allows
routing of the monitor outs (A and
B) and external talk. These can
also be found on the Monitors
screen (see Figure 20 “Monitor A
and B strips” on page 144) as
shown in Table 5 “Monitor inputs
and outputs on the Monitors
screen” on page 85.
Stage I/O To Although this is the equivalent of
the Stage I/O tab in the From
section, this one does not contain
any mic splitters, as they don’t
supply any inputs to the PRO
Series Control Centre. Refer to “To
access the Patching screen” on
page 73 and “System
components” on page 14.
Tab name Section Description Example
PRO6
and
PRO9
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FOH I/O To This tab is the equivalent of the
FOH I/O tab in the From section.
For information on what devices
can be fitted in the I/O rack, see
“About the devices on the stage
and FOH I/O tabs” on page 85.
Inputs To The Inputs tab allows sources to
be routed to the input channels,
tape returns and aux returns. This
tab controls all of the input
channels and the eight Aux
Returns (returns).
Tab name Section Description Example
PRO3 only
PRO6 only
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Dir. In (Direct
Input)
To The Dir. In (Direct Input) tab lets
you patch, for example, effects to
the outputs. A signal connected to
a direct input can access the
dynamics and EQ processing
available on that output. This
allows the aux bus masters to be
used as additional input channels.
Tab name Section Description Example
PRO9 only
PRO3 only
PRO6 and
PRO9
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Insert Ret.
(Insert Return)
To The Ins. Ret. (Insert Return) tab
allows insert returns to be patched
to any of the inputs and outputs.
Tab name Section Description Example
PRO3 only
PRO6 only
PRO9 only
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Sidechains To The Sidechains tab allows
patching to the compressor and
gate of the input and output
sidechains (see “Side chain” on
page 296).
Tab name Section Description Example
PRO3 only
PRO6 only
PRO9 only
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Effects To The Effects tab allows patching to
all of the effects.
Mon. (Monitor) To The Mon. (Monitor) tab allows
routing to the communications and
monitors. These can also be found
on the Monitors screen (see
Figure 20 “Monitor A and B strips”
on page 144) as shown in Table 5
“Monitor inputs and outputs on the
Monitors screen” on page 85.
Tab name Section Description Example
PRO3 only
PRO6
and
PRO9
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The following table lists the patching connectors on the Mon. tabs in the From and To
sections, and shows their equivalents on the Monitors screen.
Table 5: Monitor inputs and outputs on the Monitors screen
Navigating to the Patching screen
You can open the Patching screen from various other screens in the GUI menu, usually
by clicking a source (source) or dest. (destination) button. When you click one of
these buttons, not only will the Patching screen open, but the appropriate tab in the
From/To section will be open as well. For a full list of patching routing on the PRO
Series, see Table 25 “Navigating to the Patching screen” on page 418.
About the devices on the stage and FOH I/O tabs
The following device types will, if configured in the AES50 Device Configuration
window (see Figure 14 “Typical AES50 Device Configuration window” on page 92),
appear on the I/O tabs of the From and To sections of the Patching screen.
Mon. tab Input/output Equivalent on the Monitors
screen
Monitor Out A L Output monitor A output L
Monitor Out A R Output monitor A output R
Monitor Out B L Output monitor B output L
Monitor Out B R Output monitor B output R
Monitor Out C L Output monitor centre output
Monitor Out C R Output monitor LFE output
External Talk Destination Output external talk output
Talk Input Source Input talk input
Talkback Input Source Input talkback input
Ext Input Source L Input external input L
Ext Input Source R Input external input R
PFL Direct Input Source Input pfl direct input
AFL Direct Input Source L Input afl direct input left
AFL Direct Input Source R Input afl direct input right
Item Device type Description Example
AES50 Generic
AES50
This is an audio only device that is used
to represent the inputs and outputs of
any third party AES50 device.
DL251 Audio
System I/O
DL251A This device represents module card slots
A, B and C of the DL251 unit.
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DL251B This device represents module card slots
D, E and F of the DL251 unit.
DL251C This device represents the redundant
AES50 port of the DL251 unit.
N/A
DL351
Modular I/O
DL351A This device represents module card slots
A, B and C of the DL351 unit.
DL351B This device represents module card slots
D, E and F of the DL351 unit.
DL351C This device represents module card slots
G and H of the DL351 unit.
Dl351D This device represents the redundant
AES50 port of the DL351 unit.
N/A
DL431 Mic
Splitter
Mic Splitter For more information on this unit, refer
to its operator manual (part number
DOC02-DL431).
MS Cable
Red
This device type is used to specify which
port is to be used as a dual redundant
port to a DL431 Mic Splitter.
N/A
DL451
Modular I/O
Line IO For more information on this unit, refer
to its operator manual (part number
DOC02-DL451).
Line Io
Cable Red
This device type is used to specify which
port is to be used as a dual redundant
port to a DL451 Modular I/O.
N/A
Item Device type Description Example
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Common device elements
The device images have certain common elements in their layout, as shown below.
A typical device
DN9696 DN9696 Use up to four of these devices (with IDs
1 to 4) to represent the four AES50 ports
for up to 96 channels of recording/
playback. For more information on this
unit, refer to its help manual (part
number DOC02-DN9696HM).
Monitor N/A This device represents the control
surface monitor input and output XLRs.
These are also shown on the Mon. tabs
of the Patching screen, that is, the Talk
Input Source and Talkback Input
Source in the From section and all of
those shown in the To section.
Normally, these are always connected to
the above patch connectors on the Mon.
tabs. However, LFE and centre can be
used as assignable outputs if surround
monitoring is not required.
Item Description
1 Unit type.
2 Unit ID number.
3 Unit name and PRO Series Live Audio System-assigned unit number.
4 ‘Spanner’ button, opens the device configuration window (see “Configuring
the devices” on page 89).
5 Patch connector.
6 Patch connector area. (The line I/O device shows the three module card
slots, A, B and C.)
7 Module slot reference.
Item Device type Description Example
6
1
2
3 4
5
7
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Patching tooltips
Patching uses two types of tooltip — standard and list — to convey useful patching
information about the patch connectors. A tooltip is a transitory object, in the form of a
text box, that only appears while the GUI’s pointer is in the proximity of a patch
connector.
Standard tooltip
The standard tooltip is the default type that appears during all patching operations
(unless the list tooltip is selected). The following diagram shows, typically, the type of
information provided by a standard tooltip.
Typical standard tooltip
List tooltip
If you are carrying out a sequence operation, you can use the list tooltip to help in
selecting the destinations in the To section. This tooltip, which has a distinctive
translucent orange background, displays a list of the sources still to be patched. The
list is in order of selection, with the first in the queue being at the bottom. You can only
use the list tooltip for sequence operations.
Typical list tooltip
Item Description
1 Patch connector information panel, contains information on the selected
patch connector, such as, name, ID, device name, device ID etc.
Depending on the device type, a signal level meter appears if the channel is
passing audio.
2 Routing information panel, contains patching information on the selected
patch connector. (If this panel is blank, the patch connector is not
patched.)
3 The patch connector that the tooltip belongs to.
Meter
1
2
3
1
2
3
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>> To select the list tooltip
Press LIST. (Pressing LIST again will change the tooltip back to the standard type.)
About the patching procedure
Although patching can be thought of as routing/rerouting the control centre’s incoming,
internal and outgoing signals, in the context of the Patching screen, patching also
encompasses the setting up and configuration of the stage and FOH rack I/O devices.
The patching procedure is initially carried out after system installation and comprises:
• Device configuration Configure the devices by adjusting their parameters (see
below).
• Snake selection Configure the control centre according to the type of ‘snake’ you
are using for the X and Y networks (see “Configuring the snake type” on page 92).
This is important, as the control centre will not work unless the snake type
is correctly configured.
• Setting up the I/O rack devices Set up the system devices, such as line I/O,
DN9696 and generic AES50, in the I/O tabs in the From and To sections of the
Patching screen (see “Setting up the I/O rack devices” on page 92).
• Patching Carry out all of the required routing, for example, mics to input channels
(see “How to patch” on page 94).
Configuring the devices
You have the option to configure the devices from the Patching screen. Parameters,
such as gain and +48V phantom voltage, can be adjusted or switched on/off,
respectively, via a device-specific configuration window.
These configuration settings can be independent of channel data, as (until patched)
they only control the physical unit. If a device is subsequently patched to one or more
channels, the channel(s) control the device, and vice-versa.
The device configuration area also allows control of audio parameters when the device
is used as a direct connection to another device. For example, FOH to stage via a
digital snake, instead of through the DSP. In this case the settings are also saved in the
show file and can be automated, even though the signals are not routed through the
control centre DSP.
Item Description
1 ID of the patch connector belonging to the tooltip. If selected, this patch
connector will be patched to the source patch connector at the bottom of
the list.
2 List of selected sources still to be patched. Contains channel and device ID
information.
3 This source patch connector is the one waiting to be patched. Once
patched, this will disappear from the list and the one immediately above will
take its place.
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About the configuration window
The configuration window, which has a similar format for each device, comprises eight
channel panels and drop-down lists for channel range/card selection.
Typical device configuration window
Device configuration procedure
Although the procedure for configuring the devices is similar, their parameters are
dependent on device type. The procedure for configuring the devices of a similar type
involves:
• Opening the configuration window of the device.
• Selecting one of the device’s cards/channel ranges and configuring the available
parameters.
• Repeating for the other cards/channel ranges of the device.
• Repeating for the other devices.
• Closing the device’s configuration window.
Note: As the set-up procedure is similar for each device (although some of the options
may vary), only the one for DL351 Modular I/O is detailed in this section.
Item Description
1 Device ID field, contains the device type and number.
2 Device drop-down list, for device selection.
3 Channel range/card selection list.
4 CLOSE button, closes the configuration window.
5 Channel panel, contains device-specific controls and graphics.
1 2 3
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>> To open the configuration window of a device
Click the device’s spanner button.
>> To set up/change the configuration of an I/O device
1 Open the configuration window of the I/O device you want to configure.
2 Select the I/O device from the drop-down list at the
top of the configuration window.
3 Select the card/channel you want to
configure/change, from the
drop-down list at the upper-right
corner of the configuration window.
For example, the “Analogue In
Card”.
4 In a channel, configure the parameters. For example, in
channel “In1”, adjust the gain and switch the +48V phantom
voltage on (shown right).
5 Repeat step 4 for the other channels in the card.
6 Repeat step 3 to step 5 for the other cards.
7 If necessary, configure other I/O devices by repeating step 2
to step 6.
8 Click CLOSE.
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Configuring the snake type
Important:
The snakes must be correctly configured before operating the control centre,
as it will not pass audio or control data if the snakes are not configured
correctly.
You can connect the DL371 Audio System Engine to the control centre with either
copper or fibre-optic snakes. The control centre needs to be configured with this
information before operation can begin.
>> To configure the control centre with the snake type information
1 At the GUI, choose homePreferencesGeneral.
2 Under the Stage Link X heading, click the Fibre
or Copper option, according to whichever is
fitted to the X network. For example, click the
Fibre option (shown right). A selected option
will contain a red circle.
3 Do the same for the Y network, under the Stage
Link Y heading.
Setting up the I/O rack devices
You can add, remove and set up the devices, such as line I/Os, mic splitters, DN9696s
etc., that are in the Stage I/O and FOH I/O racks. This is done via the AES50 Device
Configuration window. Here, you can set up the device ID and also the type of cards
(modules) fitted to the physical unit. The options are context-sensitive, so some may
be blank, depending on the type of device.
Figure 14: Typical AES50 Device Configuration window
Item Description
1 List of Stage and FOH ports, showing current device assignments.
2 device type drop-down list, contains a list of the available devices to
choose from (see “About the devices on the stage and FOH I/O tabs” on
page 85).
2
3
4
1
5
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To cater for the dual redundant ports of the DL431 Mic Splitter and DL451 Modular I/O
(X and Y connections) there are two options in the device type drop-down list,
MS Cable Red and Line Io Cable Red, respectively. Initially, the device is allocated
to a port (as for any device), then a second port is allocated to the redundant
connection, but with the same device ID (see below for details).
Device set-up procedure
The device set-up procedure comprises:
• Selecting the port (Stage or FOH) you wish to allocate the device to.
• Selecting the device type.
• Selecting an ID for the device.
• Selecting the options (if any) for the device.
>> To add a device or change its set up
1 Click CONFIG to open the AES50 Device Configuration window.
2 Click the port you want to allocate the device to. For example, “FOH Port 3
(unused)”. The text in the device type: field will change accordingly. (A port
that has no device allocated to it will have the text “(unused)” after its name.)
3 In the device type: drop-down list, click the type of device. For example,
“DL351A”.
4 In the device ID: drop-down list, click the ID you want for the device. For
example, “ID6”.
5 In the device options: drop-down list, click the type of card fitted physical unit.
For example, “Analogue 8 Input”. If there is more than one device options:
drop-down list, repeat for the remaining ones, making sure they match the actual
cards fitted.
6 Click CLOSE.
>> To remove a device
Select the port/device from the list in the left of the AES50 Device Configuration
window. Then, select “None-Unknown” in the device type: drop-down list. For further
details, see “To add a device or change its set up” on page 93.
3 device ID drop-down list, contains a full list of IDs for the selected device
type. Those already in use will be prefixed with the text “(In use)”.
4 device options drop-down list(s), from which you can select the card that
is actually fitted in the physical unit. The positions of the drop-down lists
are relative to the card positions in the physical unit.
5 CLOSE button, closes the AES50 Device Configuration window.
Item Description
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>> To add a DL431 Mic Splitter or DL451 Modular I/O device
1 Set up the device (as detailed above), but select the Mic Splitter (for DL431) or
Line IO (for DL451) option in the device type drop-down list as necessary.
2 Set up the device’s redundant connection by selecting another port from the list
in the left of the AES50 Device Configuration window. Select the MS Cable
Red or Line Io Cable Red option in the device type drop-down list as
necessary. Then, in the device ID: drop-down list, select the same device ID as
the one you chose in step 1.
3 Click CLOSE.
How to patch
Patching, basically, involves selecting the source patching connectors in the From
section of the Patching screen and then selecting their destination(s) in the To section.
You can select patches singly, or in multiples by using the sequence and automatic
operations.
Each patch connector has three possible states, as indicated by its fill colour. The
following table shows what each state signifies (the examples show XLR connectors,
although it applies to any type of patch connector).
Working with patch connectors
You can select patch connectors one at a time by clicking on them, or you can select
them in blocks by using a drag operation. All of the patch connectors in both the From
or To sections are on tabs so, before you can select a patch connector, its tab must be
open.
>> To open a tab in the From or To sections
Click the tab title. For example, click Ins. Sends to open the insert sends tab.
Symbol Description
Patch connector is not selected and not patched.
Patch connector is selected, but can be either in a patched or unpatched
condition.
Patch connector is patched, but is not selected.
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>> To select a single patch connector
Click the patch connector. The effects of clicking a patch connector are shown in the
following table.
Table 6: Effects of clicking a patch connector
To quickly check the destinations of a source patch connector, click it. This will
select it and all of its destinations. A green triangle will appear under the name
of any tab in the To section that contains a destination(s).
>> To select a block of patch connectors in the From section
Use a drag operation (see “Drag” on page 53) to
create a bounding box around the block of connectors
you want to select (shown right).
This procedure can only be done using sequence and
multi-patching operations (initiated by the SEQ. and
AUTO buttons, respectively).
>> To deselect all selected patch connectors
Click NONE.
>> To remove a single patch
In the To section, click the patch connector from which you want to remove the patch.
Clicking Does this in the From section Does this in the To section
Selects patch the
connector.
Will do one of the following
(provided a source patch
connector(s) has been selected
in the From section):
• Selects the patch
connector during a
single patching
operation.
• Patches the patch
connector during either
a sequence or an
automatic patching operation.
Otherwise, this has no effect.
Deselects the
patch connector,
which then
reverts to its previous state
(patched or unpatched).
Removes the patch.
Selects the patch
connector and all the ones
it is patched to in the To
section.
Removes the patch.
OR
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>> To remove all the patches of a single source
1 Make sure that no patch connectors are selected. If necessary, click NONE.
2 In the From section, click the source patch connector from which you want to
remove all of the patches. (This will select the source patch connector and also
all of its destinations.)
3 Click CLEAR SEL.
>> To remove the patches from all selected patch connectors
Click CLEAR SEL.
>> To clear a block of patch connectors
1 Click NONE.
2 In the From section, select the patch connectors you want to unpatch.
3 Click CLEAR SEL.
4 Click NONE.
Single patching (SINGLE)
The SINGLE function button lets you patch a single source to a single destination or
multiple destinations.
>> To patch a single source to a single destination
The following example shows you how to patch an output from a mic splitter to an input
channel.
1 Click SINGLE.
2 Select the source patch connector. For example, in
the Stage I/O tab of the From section, click the first
patch connector (XLR1) of card A of the DL351
Modular I/O. Its background will change to yellow
and a green triangle will appear under the tab title
(as shown right).
3 Select the destination patch connector. For
example, in the Inputs tab of the To section,
click the patch connector for input channel 14
(Mic14). It will now be patched to the source.
If the new patch is carrying a signal, this
audio may be heard, depending on the
settings of the control centre.
Note: You can also carry out single patching
operations using the CLEAR SEL. and AUTO
functions.
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>> To patch a single source to multiple destinations
1 Patch the desired source patch connector to one of its destinations, as detailed in
“To patch a single source to a single destination” on page 96.
2 In the To section, select the other destinations.
Sequence patching (SEQ.)
If you need to do a number of patches, and each has only a single destination, you can
use the sequence function. All of the source patch connectors are selected in the From
section before being patched, one by one, in the To section. This saves you having to
go back to the From section at the start of each patch.
To assist you in sequence patching, you can change the tooltip to the list type (see “List
tooltip” on page 88).
Automatic patching (AUTO)
You can patch a block of source patch connectors, just by selecting a single destination.
This is called “automatic patching”. When using automatic patching, note the following:
• Sources are selected in blocks (see “To select a block of patch connectors in the
From section” on page 95).
• You can only select one block of sources at a time.
• Destinations are restricted to a single type.
• The selected destination forms the start of the automatically patched range of
destinations.
• Sources and destinations are automatically patched in ascending order, the lowest
numbered source and the selected destination forming the first patch.
• Sources will only be patched up to the highest numbered destination of the current
destination type. If there are any sources left over, automatic patching pauses. You
can then patch these by selecting another destination.
>> To automatically patch a block of source channels
1 Click AUTO.
2 In the From section, select the source patch connectors (see “To select a block of
patch connectors in the From section” on page 95).
3 In the To section, choose the destination patch connector that will form the start
of the automatic patching range. For example, input channel 3 (Mic3).
4 Click the destination patch connector.
The sources will be patch in numerical
sequence and in ascending order from
here onwards.
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Clearing all current patching
Caution:
The CLEAR function button clears all current patching, and must be
used with great caution. To alert you of the drastic nature of using
this button, a WARNING appears.
>> To clear all current patching
1 Click CLEAR. The WARNING
window (shown right) will
appear.
2 Heed the warning and do one
of the following:
• If you want to clear all
current patching, click OK.
• To cancel the clear
operation and close the
WARNING, click CANCEL.
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PRO Series Live Audio Systems
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Chapter 9: Basic Operation
This chapter is intended to familiarise you with the control centre by showing you how
to carry out some basic operations in order to get some audio out of it.
Note: As the operation of both input bays is principally the same, this chapter will
generally only show the operation of the 12-channel input bay. However, any
differences in operation between the 4-channel and 12-channel input bays will be
highlighted.
Please don’t forget that, although this system is a complex, high-tech piece of
equipment, it is very easy to use.
Setting a mic amplifier’s input gain
The control centre has two input gains per channel, one is the remote gain for the
analogue mic pre (stage box gain) and the other is the digital trim (console gain) (see
“Mic amp input gain (preliminary input processing)” on page 286). In its default state,
the stage box gain is in the channel strip and the console gain is in each input fast strip.
However, you can swap these sections over (by pressing the gain swap button) to give
you a more global control of the stage box gain.
Figure 15: Gain and filter sections of the input strips
Note: The gain trim and stage box control knobs on the control surface will adjust
whatever has been ‘swapped’ to their respective strips and not necessarily what their
names suggest. The stage box control knob (channel strip) always controls the
alternative ‘swap’ to the ones shown in the input fast strips on the GUI screen.
Input gain/trim section
Input fast
strip
Swap button
Channel
strip
Filters
section
GUI input fast strip
GUI channel
strip
Graph shows the effect of
the filter on the signal
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>> To set the stage box gain/console gain
1 In the gain trim section of an input fast strip, press the quick access button (see
Figure 15 “Gain and filter sections of the input strips” on page 99). This selects
the input channel and assigns its configuration processing area to GUI channel
strip, which contains the GAIN SWAP button.
2 Press the left-right arrow gain swap button
(or click GAIN SWAP) to swap the gain
trim and stage box sections over. The
diagram right shows an example of each
section.
3 Adjust the gain trim control knob (5dB
steps from -2.5dB to +45dB) to the
required level to suit the Midas pre-amp
characteristic. A suitable level could be one
that only just illuminates the yellow LEDs. Do this for each required channel.
Drive the mic amps for that ‘Midas colouration’; feel free to overdrive if you want.
4 After you have achieved the required gain state, press the left-right arrow gain
swap button (or click GAIN SWAP) to swap the gains back to their default state.
5 Adjust the gain trim control knob to (this time) adjust the console digital trim
(+20dB to -40dB continuous trim) for your preferred gain structure.
6 Set analogue remotes for initial set-up, then adjust digital trim for showtime.
Setting the high and low pass filters
Select high and low pass filters. The high and low pass filters can be switched on/off
and, when on, each has two settings. The filters are replicated on the GUI, which also
shows the value of the filter in operation.
>> To set both high and low pass filters in
1 In the gain trim section of an input fast strip (see Figure 15 “Gain and filter
sections of the input strips” on page 99), press the quick access button. This
selects the input channel and assigns its configuration processing area to the GUI
channel strip, which contains the filters section.
2 In the filters section of the input channel strip, press the filter select button
(high pass or low pass ) to switch the filter in.
3 If necessary, press the filter’s SLOPE button to set its slope (dB); its status is
shown on the GUI. For the high pass filter, in = 24dB and out = 12dB, and for the
low pass filter, in = 12dB and out = 6dB.
4 Adjust the high pass/low pass control knob to set the filter frequency (Hz).
The ranges are 10Hz to 400Hz for the high pass filter and 2kHz to 40kHz for the
low pass filter.
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Input equalisation (E zone)
Use EQ to equalise the input signal via the treble, hi-mid, lo-mid and bass filters, which
are situated in the input channel strip’s E zone. Treble and bass each have a
parametric filter option and three specific shelving modes. Visual feedback for EQ is via
GUI only.
>> To EQ the input signal
1 In an input fast strip, press the quick access button of the desired EQ filter
(treble, hi-mid, lo-mid or bass). This will select the channel and open the EQ
filter’s processing area in the GUI’s channel strip. Alternatively, you can navigate
to it using the bass and treble up and down arrow buttons in the E-zone (shown
above).
2 In the input fast strip, press EQ to switch the EQ in. The EQ button’s LED will
illuminate when its EQ is switched in.
3 In the E zone, adjust the freq, width and gain control knobs to apply EQ as
desired.
4 Audition the different filters, including the ‘minimum
harmonic disruption’ types, by scrolling through them
using the SHAPE button.
Note: The minimum harmonic disruption filters are bright
and deep, which are available for treble and bass,
respectively. These filters use psychoacoustic phenomena to
generate steep slopes that sound natural.
Graph shows the effects of EQ
Filter quick
access button
LEDs for EQ
filter selection
indication
E zone
Input fast
strip
GUI channel
strip
Light background shows that
this is the selected EQ filter
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Input dynamics processing (D zone)
Set up compressor and gate dynamics processors using the controls in the input
channel strip’s D zone.
There are four compressors available, corrective, adaptive, creative and vintage, each
with the option of hard knee, medium knee and soft knee (see “Compressor envelope
modes” on page 343).
>> To set up a compressor/limiter
1 In an input fast strip, press the compressor quick access button in the comp
section. This will select the channel and assign its compressor processing area to
the GUI channel strip.
2 In the comp section, press ON to switch the compressor in.
3 In the D zone, operate the attack, ratio/range (ratio), release, threshold and
make up controls to apply processing (see “Compressor” on page 290). You
could also set up a limiter by using a high threshold and a steep ratio (greater
than 5:1).
The hold control knob has no affect as it is only used for the gate.
4 Press KNEE to audition the
different algorithms (hard
knee, medium knee and soft
knee as shown right).
Compressor quick
access button
D zone
Input fast
strip
GUI channel strip
Gate quick access
button
Graphs show the effects of
compression/gating
Soft
Medium
Hard
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5 Press MODE to try different compressor types (corrective,
adaptive, creative and vintage). For example, creative
shown right.
>> To set up a gate
1 In an input fast strip, press the gate quick access button in the gate section.
This will select the channel and assign its gate processing area to the GUI channel
strip.
2 In the gate section, press ON to switch the gate in.
3 In the D zone, operate the attack, ratio/range (range), release, threshold
and hold controls to apply processing (see “Gate” on page 294).
The make up control knob has no affect as it is only used for the compressor.
Output processing
Apart from the returns, which are similar to the input channel EQ, the outputs have a
six-band PEQ with shelving modes on bands 1, 2 and 6. They also have the option of
using a GEQ, which is accessed via the GEQ button in their EQ processing areas.
The outputs (except returns) have the same four compressor modes as the input
channels, but with the addition of a shimmer mode.
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Using VCA/POP groups
VCA/POP groups (bottom of the mix bay) allow simultaneous control over a number of
channels. This provides a quick method of bringing particular channels to the control
surface and saves you having to remember their name/number. You can choose
channel group associations and also configure the colour and legend of each group’s
LCD select button to make them instantly recognisable. The LCD select button for each
group is used for both group member assignment and group recall.
Any group can have any channels (input/output) assigned to them, although in normal
practise is more likely that they will only have one or the other. Only input channel
group members are unfolded to the surface (input bays).
VCA groups include fader, solo and mute control. However, POP groups — which have
no audio function — are limited to unfolding channels (on area A or B). POP groups let
you create a group of related instruments that you need on the control surface for some
function.
>> To assign channels to a VCA/POP group
1 Press and hold down the LCD select button of the desired group (VCA or POP).
For example, “Kit” in the VCAs (as shown above). The group’s LCD select button
will start flashing when you are in group member selection mode and the inputs
will jump to program mode. Any existing input channel group members will be
unfolded to the control surface.
2 While still holding down the LCD select button, do one of the following:
• To assign an input channel to the group, press the LCD select button of the
desired input channel. Repeat for any other input channels you want in the
group. For example, “Kik 1”, “Sn1”, “Hihat” and “Tom” (shown above). If
necessary, scroll to a new bank of input channels.
• To assign an output channel to the group, press the quick access button of the
desired output channel. Repeat for any other output channels you want in the
group. If necessary, navigate the desired output channels to the control
surface. The quick access buttons of any output channels that are at the
control surface and are group members will illuminate. Individual output
select buttons will flash if their bank contains a member of the current group.
3 Release the group LCD select button. The group now contains the channel
members you have just assigned and the group will be selected.
4 To exit the group, quickly press the group LCD select button.
To quickly see which channels are in a particular VCA group, press its SOLO
button on and off. Monitor this action on the Meters display (master bay GUI).
Only the SOLO buttons of channels that are group members will be affected.
VCA group LCD
select button
Input channel
LCD select
buttons
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Configuring VCA/POP groups
The default name and associated colour of a group, which appear on its LCD select
button and on the GUI, can be configured to suit your own preference. You can also
globally change the colour of the group members to match the group colour.
Configuration is carried out at the Group Sheet screen (see Figure 16).
Figure 16: VCA/POP group fields on the Group Sheet screen
Note: Clicking the control knob icon will take you to the VCA Groups screen (a
submenu of the Control Groups option), which provides group management control.
>> To access the Group Sheet screen
Do one of the following:
• At the GUI, choose homeControl GroupsGroup Sheet.
• In the primary navigation zone, press the vca/assignable controls screen access
button.
>> To set up the name of a VCA/POP group
Do one of the following:
• Choose from a list of pre-configured names by clicking the pencil icon of the
group. In the drop-down list, click the name of your choice, for example, “E Gtr”.
Scroll the list, if required.
• Type in a new name by clicking within the name field of the group. The pointer
will change to a white flashing I-shaped cursor, which will appear at the end of the
name field. Type in the new name via the keyboard (maximum six characters).
>> To set up the colour of a VCA/POP group
1 Click the palette icon of the group.
2 In the palette (shown right), click your chosen colour. For
example, blue.
>> To set up the colour of a VCA/POP group and all of its
members
Click the fill icon of the group. The colour of all group
members will now match that of the group.
Group name field
Control knob icon
Palette icon
Pencil icon
VCA groups
POP groups
Fill icon
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Setting up a mix
The control centre has up to 32 configurable mix buses (16 auxes and up to 16
matrices), each of which can be used as aux mixes, subgroups or mix minus. All of the
mixes can also be set up as stereo pairs or mono. Eight matrix outputs can also be
accessed directly from input channels via level controls, which gives the control centre
the ability to provide up to 32 discrete mixes, plus left, right and mono. The mix
sections (input fast strips) and the mix and sends sections (mix and master bays)
provide mix control and navigation, while the bus mode selection is via GUI only.
Similarly to the inputs and groups, identification of mixes is by colour coding.
The overview displays in the GUI channel strip (see Figure 17) show the status of the
mixes, which are colour coordinated to match those in the sends section of the control
surface.
Figure 17: Typical sends sections of the mixes in the GUI channel strip
>> To select the mix bus mode
1 Select the mix bus (see “To select a mix bus” on page 65).
2 Press the quick access button
(adjacent to the filters section)
to assign the mix overview to
the channel strip. For example,
the aux send overview for
AuxS1.
Ramp shows that this
signal is post-fader
This transition point across each group of
eight mix buses, where solid colours
change to translucent, indicates 0dB
Bar shows that this
signal is pre-fader
Bright aux number
and ramp/bar
shows that this
aux is on
Dull aux number
and ramp/bar
shows that this
aux is off
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3 Click a non-control area within one of the sections (for
example, dir in) to open the configuration processing area
in the GUI channel strip.
4 Click MODE repeatedly to scroll through the mix modes
(mix, group and mix minus) to select the one you want.
Group mode is fader only with no pre-fader, and in mix
minus mode all buses are initially routed — you have to turn
a bus routing switch on to take it out of the mix. Stereo mix
mode — with mix selected and LINK button on — is only
accessed from the odd numbered output channel of the
linked pair. In stereo mix mode the top control knob
becomes pan adjust and the bottom one adjusts level.
When creating a stereo mix, you can use either the odd or
even output to link the two channels, but the mode of the
odd channel is used on both.
>> To set up a mono aux mix
1 Making sure that the mix bus is not linked, select mix (see “To
select the mix bus mode” on page 106).
2 Select the input channel (see “To select an input channel” on
page 62).
3 At the GUI, click within the appropriate sends section (aux or
matrices) in the overview display (see Figure 17 on page 106) to
open its processing area.
4 In the mix (upper) section, do the
following:
a Press PRE to select pre-fader
(on) or post-fader (off).
Button status is only
available on the GUI (see
Figure 17 on page 106).
b Press ON to route the aux
mix from input to aux output.
c Adjust the level control knob
to change the signal level.
You have the option to adjust them using the pan/fader controls in the
input fast zone (12-channel input bay); this is known as “flip” mode. (You
can also adjust them in the GUI channel strip — overview or processing
area — using drag.)
a
b
c
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Mix bus routing
You can route an aux or matrix (or even master output) to an effect or output. This is
a GUI-only operation, which is done via the GUI channel strip or Patching screen (see
Chapter 8 “Patching”).
>> To route an aux or matrix to an effect or output
Do one of the following:
• In the processing area of the channel strip, click the required
mix bus destination from the drop-down list. For details of how
to open the processing area, refer to “To select the mix bus
mode” on page 106.
• In the processing area of the channel strip, click dest (shown
right). This will open the Patching screen and the appropriate
tab. For details of how to open the processing area, refer to
“To select the mix bus mode” on page 106.
•Open the Patching screen and route the aux/matrix from
there. For information on patching, see Chapter 8 "Patching"
on page 71.
Linking
You can link two mixes together. Pairs can only be created from adjacent mix buses of
the same colour. To link a pair of mix buses, click the LINK button of either of the mix
buses (odd or even) you want to link (see “To select the mix bus mode” on page 106).
The linked parameters default to the user-configurable global default link settings,
which are set via the GUI menu (choose home
PreferencesLinking). However,
you can override these default link settings for the pair via the Stereo Linking
Options window, which is opened by pressing the LINK OPT. button (to the right of
the LINK button).
For more details, see Chapter 10 "Stereo Linking" on page 127.
Using fader flip
For information on using fader flip, see “Controlling the mix buses in flip mode” on
page 48.
Note: When using fader flip to control the aux bus levels, always use the GUI to check
the level. This is because the fader level markings have a maximum of +10dB, whereas
the aux bus levels only go up to +6dB.
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Setting up the effects rack
The GUI’s Effects screen contains a virtual eight-unit rack.
You can have a maximum of eight effects units in the rack,
the number being dependent on configuration. Each unit
can contain any combination of the effects listed in the
Change Device Type window. (The PRO3 only has up to
six effects units.)
The assignable controls panel (shown in the Delay
diagram below) is common to all effects, and lets you control
effect parameters via the equivalent panel on the control
surface (master bay).
Delay — provides simple delay
line-based effects. Delay times can
be specified manually or you can use
the ‘tempo-tap’ button. It has a
three-mode delay algorithm: one
delay tap (mono or stereo
processing); dual - two delay lines
(stereo inset only); and ping-pong -
two delay lines with cross feedback.
DN780 — is a reverberation device
that emulates the Klark Teknik
DN780 Digital Reverberator/
Processor unit and lets you create
unique acoustic environments of
virtually any type.
Flanger — has one or, if configured
as stereo, two tap delay lines. One
tap is fixed and the other tap
position is modulated to provide
‘thru-zero’ flanging or single tap
modulation when ‘thru-zero’ is off.
Phaser — has one, or if configured
for dual operation, two stereo
phasers connected in serial or
parallel, according to mode setting.
Pitch Shifter — has two
independent channels that can
independently shift the pitch of
signals up or down to correct poor
pitching or generate harmonies. The
pitch change can also be modulated
as an effect.
SQ1 Dynamics — is an emulation
of the Klark Teknik Square ONE
Dynamics, which is an 8-channel
analogue dynamics processor. Used
for the precise manipulation of
compression parameters, it also
includes gating for creative and
corrective applications, and channel
linking for stereo/multi-channel
operation.
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3 Band Compressor — is a
minimum phase shift (analogue
style) implementation that
guarantees coherent band summing,
even at the most extreme crossover
point settings. Each band provides
full control of its compressor’s
action, with partially adaptive time constants ensuring the most natural results from
even the most variable sources.
>> To choose an effect
1 At the GUI, choose homeRack UnitsEffects. Alternatively, press the
effects/graphics screen access button in the primary navigation zone.
2 Click within your chosen rack position.
This will be the position of the new
effect.
3 In the effect window, click CHANGE
DEVICE TYPE.
4 In the Change Device Type window, click your chosen
device type. For example, “DN780”.
5 Click OK.
4
5
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6 Change the parameters of the new
effect device as necessary. For
example, adjust control knobs, press
buttons etc. You can even change the
effect’s name by editing its name field
(upper-left corner of effect window).
7 Click CLOSE to close the effect
window. The new effect will appear in
the effects rack.
You can now patch the new effect, which will
be on the Effects tabs of both the From and
To sections of the Patching screen. For
information on how to patch, see Chapter 8 "Patching" on page 71.
Simple routing to master stereo outputs
The following shows you how to obtain audio. Before proceeding with this operation,
make sure nothing is muted and master faders are up.
>> To obtain audio
Do one of the following:
• Press the ST (stereo) button of
an input fast strip.
• Press the ST (stereo) button of
a channel strip.
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Scene and show management (automation)
Automation lets you manage show files and the scenes within the shows. This can all
be done via the Automation screen (a GUI menu option).
Typical Automation screens before (left) and after (right) a show has been initially
loaded
>> To open the Automation screen
Do one of the following:
• At the GUI, choose home
AutomationAutomation.
• In the primary navigation zone, press the automation/filing screen access button.
Managing the shows
The four buttons (NEW, LOAD, SAVE and SAVE AS) towards the top of Automation
screen let you create a new show, load an existing show, update the current show or
create a new show using the current settings.
Important:
We recommend that you save your show
settings regularly (see “Saving a show
versus storing a scene” on page 49). The
control centre will indicate that there are
show settings to be saved by changing the
background colour of the SAVE button to red
(as shown right).
>> To create a new show
1 Click NEW.
2 In the Enter new show name: window, type
your chosen name for the new show.
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3 Click OK. You can now create
and manage the scenes for your
new show. (Clicking CANCEL
instead of OK will close the
Enter new show name:
window without creating a new
show.)
>> To save a show or create a new one from the current settings
Do one of the following:
• To update the current show with the latest settings, click SAVE.
• To create a new show using the current show
settings, click SAVE AS. Then, in the Save
File window, type in the name of the new show.
Click OK to save the new show and close the
window. (Clicking Cancel will close the window
without saving the new show.)
>> To load a show
1 Click LOAD.
2 In the Load File window, click the show file
you want to load (shown right). The file
name will appear in the Load this file:
name field.
The Load File window will contain a list of
all the shows currently loaded. If the one
you want is not there, load it from a USB
memory stick (see “To load (import) a show
file from a USB memory stick” on
page 123).
3 Click OK to start loading the file and close
the window. The show file name will appear
in the show file name field (next to the
SAVE AS button) when it has finished loading.
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Managing the scenes
An automation section in the master bay (see item H in Figure 5 “Main areas of the
control surface” on page 29) supports the Automation screen by providing a number
of controls for scene navigation and management. A jogwheel and a next LCD button
are unique automation controls, while the store, ok, cancel, last and now buttons are
replicated on the Automation screen.
The four coloured, backlit buttons are context-sensitive and illuminate only when they
are available. Typically, three scenes in the cue list (Automation screen) will be
highlighted to match the button colours (red, yellow or green) to show which scene
each button will act upon.
The jogwheel quickly scrolls through the individual scenes in either direction. You can
even go to the empty scenes towards the end of the cue list and then wrap to the
beginning. Operation of the jogwheel does not affect scene selection.
The next LCD button displays information on the scene you have just scrolled to.
Additional function buttons on the Automation screen allow you to copy scenes and
also to choose what is stored within each scene (store and recall scope buttons).
The eye icon in the Automation screen (just under the ADD MIDI button)
opens a Show window, which contains a list of filter options.
>> To navigate the scenes using the jogwheel
Rotate the jogwheel in a clockwise or anti-clockwise direction to
scroll through the scenes one by one.
When using the jogwheel the next LCD button will illuminate yellow
and will track the scene currently highlighted in yellow in the cue
list. In this case, pressing this button will only have an affect if a
non-empty scene is currently highlighted.
>> To recall a scene
Important:
When recalling a new scene, make sure monitor output levels are low, as the
new scene’s settings may produce higher audio output levels than the one it is
replacing. Also, recalling a scene clears any unsaved adjustments made to the
previous scene.
Do one of the following:
• Press last to change scene selection to the one currently
highlighted in red in the cue list, which was the last selected
scene.
• Press now to change scene selection to the one currently
highlighted in yellow in the cue list.
• Press next (LCD button) to change scene selection to the one
currently highlighted in green in the cue list, which is the scene
immediately following the ‘now’ scene. However, if you have used
the jogwheel the effect will be different.
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>> To create a new scene using the current settings
1 Click STORE SCENE.
2 In the Store Scene window (shown right),
type in the scene name.
3 In the Notes panel, type in any scene notes.
4 Do one of the following:
• Click “Insert before scene” to put the new
scene in between the one currently
highlighted in yellow and the scene
immediately before it.
• Click “Store to empty scene” to put the
new scene in the one currently
highlighted in yellow, provided it is empty.
• Click “Store to next scene” to put the new scene in the next one, provided it is
empty.
• Click “Overwrite scene” to overwrite the scene currently highlighted in yellow.
An OK button will appear at the bottom of the window, to the left of the Cancel
button.
The options in the Store Scene window are context-sensitive, so some may be
greyed-out to show that they are unavailable.
5 Click OK. This will store the scene, saving any changes you have made, and
close the window. (Clicking CANCEL will close the window, ignoring any
changes.)
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Additional control — managing events
You can use the MIDI or GPIO functions of the control centre to control the parameters
of an external device (outgoing), and conversely you can use an external device to
control the control centre (incoming). Also, by using the unique ‘internal’ event option,
you can trigger events from within the showfile itself. All this is done by creating events
in scenes/point scenes.
You can have any number and types of events in any scene/point scene, and event
parameters are set up and edited in an Edit Event window. Similarly to scenes/point
scenes, you can skip events during rehearsals.
To aid event management, a menu opens (shown right) when you
right-click a scene/point scene or event. The menu options allow you to
create, edit and copy events. Click an option to select it.
The following shows what some of the event symbols in the Automation
screen mean: = currently selected event; = MIDI event;
= GPIO event; = internal event; = incoming event; and
= outgoing event.
>> To create an event
Select the scene in which you want to create the event, and then do one of the
following:
• Click the ADD GPIO, ADD INTERNAL or ADD MIDI button as necessary.
• From the ‘right-click’ menu, choose AddMidi Event, AddInternal Event or
Add
GPIO Event as necessary.
>> To edit an event
1 Open the Edit Event window by doing one of the
following:
• Right-click the event you want to edit and
then choose Edit from the right-click menu.
• Select the event you want to edit and then
click EDIT.
2 In the Edit Event window, choose your options
as necessary. For example, you can use a
program change to trigger the event.
3 Click CLOSE to close the Edit Event window.
>> To copy and paste an event
1 Right-click the event you want to copy, and then
choose Copy from the menu.
2 Select the scene in which you want to paste the
copied event. Or, if the scene already contains an
event(s), select the event after which you want to
paste the copied event.
3 Right-click to open the menu, and then choose
Paste.
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Show editor
The Show Editor screen lets you very
easily copy and paste settings through
scenes.
The panel at the far left of the Show
Editor screen shows the sources, such
as channels, GEQs and effects, from
which you can copy the settings. The
Sections panel in the centre of the
screen contains source sections that
you can copy to the scene(s). At the far
right of the screen is the Scenelist
panel, which is a cue list of the current
show. For details of the parameters per
area, see Appendix P "Parameters
Copied Through Scenes" on page 581.
Note: The number of inputs and matrices shown in the Show Editor screen are
dependent on the PRO Series type.
>> To open the Show Editor screen
Do one of the following:
• From the GUI menu, choose home
AutomationShow Editor.
• At the Automation screen, click SHOW EDITOR.
>> To copy and paste sections to a scene(s)
1 In the Show Editor screen, click the sources that contain the sections you want
to copy to a scene(s). These are in the far left panel of the screen. You can
choose any combination of inputs, aux returns, aux sends, matrices, GEQs,
effects and masters.
2 In the Sections panel, click the boxes of the sections that you want to copy.
Ticked options will be copied.
3 In the Scenelist panel, click the scene(s) in which you want to paste the
sections. You can use the buttons at the bottom of the list to help you, as
follows:
• Click ALL to select all of the scenes in the list.
• Click NONE to deselect all selected scenes.
4 Click PASTE TO SCENES.
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Configuring the inputs and outputs
Similarly to the VCA/POP groups, you can change the name and colour of each of the
inputs and outputs. This is done via the GUI at their respective sheet screens. For
configuration details, see “Configuring VCA/POP groups” on page 105.
>> To open the Input/Output Sheet screen
Do one of the following:
• At the GUI, choose homeInput ChannelsInput Sheet to open the
Input Sheet screen, or choose home
Mix & OutputsOutput Sheet to open
the Output Sheet screen.
• In the primary navigation zone, press the inputs/outputs screen access button to
open the Input Sheet screen. To open the Output Sheet screen, press it again.
Using copy and paste
The copy and paste buttons (upper-right corner of GUI) let you copy the parameters of
one/all of a single channel’s processing area(s) — such as the EQ, compressor, gate etc.
— and paste them to one/all of the channels of a similar type.
copy and paste buttons on the GUI. Right-clicking a copy or paste button will open
its respective menu, which contains full copy/paste options.
>> To copy a processing area to a channel/all channels
1 If necessary, navigate the channel’s processing area to the channel strip (see “To
select a processing area” on page 68).
2 Click copy.
3 Do one of the following:
• To copy the processing area to another channel, select the channel and then
click paste. (As the copied parameters are still stored, you can paste to as
many channels as you want.)
• To copy the processing area to all other channels, right-click paste to open its
menu and then choose Paste To All.
>> To copy all parameters to a channel/all channels
1 If necessary, select the channel from which you want to copy all of the processing
areas.
2 Right-click copy to open its menu, and then choose Copy All.
3 Do one of the following:
• To copy the parameters to another channel, select the desired channel and
then click paste.
• To copy the processing area to all other channels, right-click paste to open its
menu and then choose Paste To All.
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Copy and paste rules and restrictions
• You can only copy and paste similar functions. For example, you can’t copy the
input EQ from one channel to the output EQ of another, as they are different.
• You can only copy and paste across similar channel types. For example, you cannot
copy from an aux and paste to a matrix.
• Copying and pasting across inputs is restricted to the input bays only.
• Channel names are not copied.
• Compressor and gate side chain listen cannot be copied.
For details of the channel parameters that are copied across, see Appendix
N "Parameters Affected By Copy And Paste" on page 511.
User library (presets)
The control centre has a user library where you can store settings, such as for the EQ or
the whole channel. For example, you may wish to store the EQ settings of a singer who
may be called upon to perform during a future show. You can then easily recall these
EQ settings to the appropriate channel, when required.
Store and load preset buttons on the GUI
The settings are stored as presets, which are saved in a library. The library files are
managed via a Preset Manager screen on the GUI. Here, you can create new
libraries, load existing libraries, save the current library or give it a new name. You can
also delete presets from the library.
Before you can save/load a preset, you need to create a new preset library or open an
existing one. To create a new one, open the Preset Manager screen (choose
home
Preset Manager) and click New. Then, after typing in the details in the
Enter new Library name window, click OK.
>> To save a preset to the user library
1 Make sure that the settings you want to save are assigned to the channel strip,
then click store preset. If the channel’s overview is displayed, all of its settings
will be saved in the preset. Otherwise, just the settings of the displayed
processing area will be saved.
2 In the Save Preset window (shown right), type in
your chosen preset name (Preset Name), your
name (Preset Author) and any note (Notes) as
necessary.
3 Click OK.
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>> To load a preset
1 Make sure that the channel in which you want to load the settings of the preset is
assigned to the channel strip, then click load preset.
2 In the Load Preset window, click the desired preset.
3 Click OK.
Surround panning
In addition to stereo and left-
centre-right (LCR) panning, the
control centre has three surround
panning modes: quad; left,
centre, right and surround
(LCRS); and 5.1 surround.
To help you visualise the
surround panning envelope, the
masters processing area of the
GUI channel strip has a spatial
diagram (shown right) that
updates in real time when you
operate the panning controls.
The surround panning modes are operated via a surround monitoring system, which
uses matrix channels 1 to 6 as the surround bus channels. The channels are muted via
six MUTE buttons in the master bay. Control centre monitor output connections are via
the surround, sub, centre and front XLRs on the rear panel.
The 5.1 panning mode uses all six channels, while quad mode uses four (left and right
on both the front and surround). Although the LCRS mode uses five channels (front left
and right, centre and surround left and right), both surround channels are the same.
(In an LCRS surround panning arrangement, you can have a single surround speaker
positioned directly behind the listener.)
In surround mode, the SIS button routes the channel to the surround buses in much
the same way that the ST button routes to the master buses.
Figure 18 “5.1 surround panning arrangement” on page 121 shows the location of the
surround MUTE buttons and their matrix channel allocation, and shows the allocation of
the surround MUTE buttons per loudspeaker and the recommended
1
5.1 surround
system configuration.
>> To select the surround panning mode
1 At a GUI screen, choose homePreferencesGeneral to open the
Preferences screen.
2 In the Surround Mode section, select the desired surround mode.
1. Reference - ITU-R BS.775.1, 1994. Multichannel stereophonic sound system with and without
accompanying picture. International Telecommunications Union.
LC R
Position cursor
Speaker
Sound image
RR
Listener’s position
RL
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Figure 18: 5.1 surround panning arrangement
Subwoofer
Front left
Centre
Front right
Rear right
(right surround)
Rear left
(left surround)
30°30°
110° ±10°
110° ±10°
Listening
distance
Loudspeaker
Matrix channels
12 3 4 56
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Two-man operation
The control centre can be operated by two people simultaneously. In this mode of
operation the 4-channel input bay is designated as area B, and operates independently
of the 12-channel input bay, which is always area A. (You can have the same channel
selected simultaneously in both bays.)
This feature can also be used by a single operator if they require somewhere to
store important channels. In this case, area B can be used in the same way a
‘channel 25’ would be used on an analogue console.
The following diagram shows the areas designated as A and B during two-man
operation and also shows the location of the area B button. All other parts of the
control surface are common to both areas.
Figure 19: Two-man operation
VCA/POP groups can be pre-selected to populate area A or B, and a single group of
inputs can have members in both areas of the control surface. An operator can then
recall them to their own area to work on.
Note: When operating in area B, remember to select the B option, where appropriate,
particularly in the monitor section. Also note that solo B (also for talkback) is totally
independent of area B, which is used for navigation only.
>> To set up the control centre for two-man operation
In the input select section of the master bay, press B (see Figure 19 above).
Area A
Area B
PRO3 and PRO6
PRO9
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Saving your show files to a USB memory stick
When you are satisfied that your show file is how you want it, we recommend that you
save it to a removable storage device (USB memory stick). This provides a valuable
back up should the show file stored in the internal memory of the control centre be lost,
for example, due to inadvertent deletion.
You can also load show files onto the control centre from the same storage device.
>> To save (export) a show file to a USB memory stick
1 If necessary, close and save the show file you want to export; you can’t export a
show file that is open.
2 Insert the USB memory stick
into the active USB socket,
which is the one with the
flashing active LED. For
example, USB key 2 (shown
right).
3 Do one of the following:
• At the GUI, choose
home
Files.
• In the primary navigation
zone, press the
automation/filing screen
access button twice.
4 You may see an “Analysing...”
message in the Removable Storage
panel, which means that the Midas
folder on the USB memory stick is
being read. Wait for the message to
clear. Then, in the Control Surface
panel, click the show file you want to
copy (shown right).
5 Click EXPORT.
6 In the Are You Sure you Want To
Export? message window, click OK. The file will
start copying to the USB memory stick.
7 When your show file appears in the Removable
Storage panel, it has finished copying to the
USB memory stick. Remove the USB memory
stick.
>> To load (import) a show file from a USB memory stick
The procedure is similar to the export procedure, as detailed in “To save (export) a
show file to a USB memory stick” on page 123, but select the file to be imported to the
control centre from the Removable Storage panel and then click IMPORT.
USB memory
stick
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External AES50 synchronisation
If you want to connect AES50 audio between two Midas digital consoles the slave
console must be set to external AES50 synchronisation, irrespective of the
synchronisation source of the master console.
A valid connection can be a tie line between the stage routers or the secondary port
(Bx/By) of a mic splitter that has its primary port (Ax/Ay) connected to the master
console.
Security (locking mode)
If you need to leave the control centre unattended, but you want to preserve its current
state of operation, you can lock it via the GUI menu. This will prevent unauthorised
adjustment of its settings. When locked the GUI displays the ‘splash’ screens (shown
during the start up sequence) and none of the controls on the control surface will
function; the control centre will be totally locked out.
>> To lock the control centre
At the GUI, choose home
Lock.
>> To unlock the control centre
At the GUI, click UNLOCK. This button is in the lower-left corner of
both GUI screens. For security, this button has been designed to blend
in with the background to disguise it. When unlocked, the control
centre will revert to the state it was in the last time it was locked.
Console 1
sync setting
Console 2 sync setting
Master Word clock AES3
External
AES50 from
console 1
Master Not valid Not valid Not valid Valid
connection
Word clock Not valid Not valid Not valid Valid
connection
AES3 Not valid Not valid Not valid Valid
connection
External
AES50 from
console 2
Valid
connection
Valid
connection
Valid
connection
Not valid
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Volume 3:Advanced
Operation And
Features
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Chapter 10: Stereo Linking
By default, all of the channels of the PRO Series Control Centre are mono (unpaired).
However, adjacent channels can be linked together to form a stereo pair, which is
known as “stereo linking” (or “channel pairing”).
You can choose which controls/parameters are linked across the channel pairs. The
default settings specific to each channel type can be altered globally via the Stereo
Linking Default Settings window (see “To set the global default stereo linking
options” on page 128). However, these can be overridden from the Stereo Linking
Options window on per pair basis (see Figure “Linking the master channels” on
page 129). For details of the stereo linking control areas available for each channel,
see Appendix O "Parameters Affected By Stereo Linking" on page 539.
When paired, the controls for each signal path act simultaneously on both the left and
right signal paths. Individual trims, for example, adjusting the mic amp gains to
balance stereo mix inputs, can be applied to the left and right audio paths individually.
The channels are not truly mono at this time, and any settings necessary to preserve
the audio prior to trimming, such as dynamics side chain linking, are maintained.
Note: The pan control is never linked.
When linking previously unlinked channels, some normalisation of the prospective left
and right control settings, which may be quite different, is required. The PRO Series
does this by automatically copying the control settings of the left channel (with the
exception of the pan controls) to the right channel. The pan controls, depending on
whether they are in the left or right audio paths, should be manually set to hard left or
hard right, respectively.
>> To link two channels
1 Assign the configuration processing area of the desired input channel (left
channel of pair you want) to the GUI channel strip by doing one of the following:
• For an input channel, press the quick access button in the gain trim section of
its fast strip. If necessary, navigate the channels to the control surface.
• For an output channel, press the quick access button in its fast strip. If
necessary, navigate the channels to the control surface.
2 At the GUI, click the LINK button. This is located towards the top of the GUI
channel strip in the configuration processing area.
3 In the left channel of the linked pair, set the pan control knob fully
anti-clockwise.
4 In the right channel of the linked pair, set the pan control knob fully clockwise.
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Changing the linking options
You can choose which control options will be linked across the channel pair, either
globally or on a per pair basis. The per pair settings always override the global ones.
For details of the linked parameters for each section, see Appendix O "Parameters
Affected By Stereo Linking" on page 539.
>> To set the global default stereo linking options
1 At the GUI, choose
home
PreferencesLinking. This
will open the Stereo Linking Default
Settings window (shown right),
which is divided into channel types.
2 In a channel section, select the
desired default stereo linking options
and then click the Change Existing
button directly underneath.
Repeat as necessary for any other
channels.
Selected control options will be linked across
the channel pair of the appropriate type.
Unselected controls remain independent on
each channel.
>> To set the stereo linking options for a channel pair
1 Make sure that one of the paired channels is selected and its configuration
processing area is assigned to the GUI channel strip. Then open the Stereo
Linking Options by clicking the st. linking options button in the GUI channel
strip.
2 Select the controls that you want linked across the channel
pair. A typical Stereo Linking Options window is shown
right. The active options will be channel dependent.
3 Click CLOSE.
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Linking the master channels
You can link the left, right and centre master channels in a two-way link (left and right)
or even a three-way link (left, centre and right), both of which use the linking
parameters set for the left master channel.
>> To link the left and right master channels
1 In the left master channel (control surface), press its quick access button (just
above the fader) to select it.
2 Set the stereo linking options for the left master channel, see “To set the stereo
linking options for a channel pair” on page 128. These settings will apply to the
linked stereo pair.
3 Click LNK.
>> To create a three-way master channel link
The centre channel can only be linked to a left/right master pair. If necessary, link the
left/right master channels (as detailed above). Then, click LNK in the configuration
processing area of the mono master channel.
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Chapter 11: Panning
The PRO Series Control Centre has two main types of panning mode, default and
surround. The default mode comprises stereo and LCR panning formats, and only uses
the channels for the front loudspeakers, while the surround mode includes channels for
the rear surround loudspeakers.
The following table shows the panning formats available on the PRO Series.
Table 7: Panning formats
Key: L = left; R = right; C = centre; Lr = left rear; Rr = right rear; Ls = left surround;
Rs = right surround; S = surround; LFE = low frequency effects (usually handled by a
subwoofer)
Stereo panning
The control surface controls for stereo
panning are located in the masters
section of each input fast strip and each
channel strip.
The pan control associated with the
masters section may be switched for
either conventional or spatial imaging
system (SIS™) stereo operation by
using the ST or SIS switches,
respectively.
SIS™ (LCR) mode
The Midas SIS™, which is used for left-centre-right (LCR) loudspeaker systems,
configures the channel for LCR mixing. The SIS switch activates the spatial imaging
system, which uses the SIS image control knob to modify pan control knob operation
so as to place the channel within a three-speaker system.
With the SIS image control knob set fully clockwise or anti-clockwise the image is full
LCR or stereo, respectively. Control knob positions in between generate a composite
blend of stereo or LCR panning systems, so that optimum degrees of centre image
focus and speaker power can be obtained. This is illustrated in the following
subsections, which shows the masters section in the channel strip.
Panning mode No. of channels Format Channel types
Default 2 Stereo L, R
3 LCR (SIS™) L, C, R
Surround 4 Quad L, R, Lr, Rr
4 LCRS L, C, R, S
5 LCRS L, C, R, Ls, Rs
6 5.1 L, C, R, Ls, Rs, LFE
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Constant power is maintained at all times so that the image can be adjusted during the
show without a perceived change in level.
SIS image control knob fully clockwise (LCR)
With the SIS image control knob fully
clockwise the pan control knob operates in
full LCR mode. A centre-panned signal,
that is, with the pan control knob set to
the c position, routes to centre speaker
only; there is no signal in the left and right
speakers.
SIS image control knob fully anti-clockwise (stereo)
With the SIS image control knob fully
anti-clockwise, the pan control knob
operates as stereo. A centre-panned
signal routes to the left and right speakers
at equal power.
SIS image control knob centred (equal power)
With both the SIS image and pan control
knobs centred, the signal is routed to all
three speakers with equal power.
Left
Centre
Right
Left
Centre
Right
==
Left
Centre
Right
==
=
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Surround panning
There are three surround panning modes: quad, LCRS and 5.1. These are assigned on
a channel wide basis, that is, if the control centre is in 5.1 all channels are in 5.1. This
allows control and distribution of the three surround formats without re-patching. The
same applies to monitoring.
For more information on surround panning, see “Surround panning” on page 120. For
information on the set-up for each mode, see Figure 31 “Connections for a quad
surround system (with recommended speaker set-up)” on page 269, Figure 32
“Connections for an LCRS surround system (with recommended speaker set-up)” on
page 270 and Figure 33 “Connections for a 5.1 surround system (with recommended
speaker set-up)” on page 271.
Table 8: Surround panning bus routing
Simultaneous generation of stereo masters, mono masters, stereo auxes, mono auxes,
stereo matrices and mono matrices (excluding buses 1 to 6) is possible in all surround
modes. However, SIS™ panning to masters is not possible.
Operation of the monitor system in surround or stereo is a mode selection that can be
made independently or in conjunction with the surround bussing on the control centre,
that is, you can still monitor and solo in stereo, even if you are producing a 5.1 mix.
Surround panning connectors on rear panel of PRO Series Control Centre
Left/right panning control utilises the normal stereo pan pots. Front/back panning is
made possible by taking over the mono level/SIS image control knob on the control
surface (masters section of each channel strip).
Trackball panning and external devices that operate the GUI pointer can also operate
the surround panning on a selected channel.
Bus routing to the six surround matrices remains unchanged, that is, it will be possible
to route and place an image anywhere within the surround stem from inputs, auxes,
aux/group buses and master buses.
Buses Matrix 1 Matrix 2 Matrix 3 Matrix 4 Matrix 5 Matrix 6
Quad Left Right None None LS RS
Surround Left Right Centre None S (same as
Matrix 6)
S (same as
Matrix 5)
5.1
surround
Left Right Centre Sub LS RS
Monitor A Left A Right Centre Sub B Left B Right
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Input of pre-recorded surround material is possible from the direct inputs to the six
matrix buses (with no panning available).
No fold down facilities are implemented for externally inputted surround material.
However, a stereo mix can be monitored by switching the monitor section back to
operate in stereo mode sourced from the stereo masters rather than the six surround
matrix modules. This requires an identical stereo mix to be built at the same time the
surround mix is generated, which is normal practice.
When monitoring in surround formats the monitor centre and sub speakers are muted
via the assignable stereo output mutes, while the front and surround speakers are
muted via the A and B monitor mutes.
In normal stereo mode, two assignable outputs — typically the main stereo left and
right — can be patched to the centre and sub XLRs to free up eight bay modules I/O.
>> To select a surround panning mode
1 At the GUI, choose homePreferencesGeneral.
2 Under the Surround Mode heading, click your chosen
surround mode. For example, “5.1”. The currently selected
mode contains a red circle.
About the controls in surround mode
When the PRO Series is configured to operate in one of the surround panning modes,
the spatial diagram that appears in the GUI channel strip gives you a visual
representation of the sound image in relation to the speakers (as viewed from above).
An example of each surround panning mode, as displayed in the GUI channel strip.
Although the example shows input channels, this is typically the same for the outputs.
None Quad LCRS 5.1
1
2
4
3
5
6
7
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Although the position cursor changes automatically according to the adjustment
of the surround panning controls, you can also adjust it on the GUI using drag.
The following table shows the fader parameters with None selected as on/off in the
Surround Mode section of the Preferences screen (see “Setting the configuration
preferences” on page 249).
Table 9: Fader parameters with surround panning on/off
Item Description
1 fb pan control knob, moves position cursor in spatial diagram up/down.
2 Left-centre-right control knob, moves position cursor in spatial diagram
left/right.
3 front control knob, adjusts the divergence of the front speakers.
4 front to back control knob, adjusts the divergence of the front and rear
speakers.
5 back control knob, adjusts the divergence of the rear speakers.
6 centre level control knob, adjusts the divergence of the centre speaker.
7 LFE level control knob, adjusts the signal level of the LFE (usually a
subwoofer).
Parameter None mode off None mode on Notes
Level (fb pan) Yes Yes If left or right
channel has SIS
on, level is image
(below).
In other surround
modes, it is
front/back pan
(below).
Image (fb pan) Yes Yes See above
Pan Yes Yes See above
Divergence (front
to back)
Yes N/A N/A
Divergence (front) Yes N/A N/A
Divergence (back) Yes N/A N/A
Centre level Yes N/A N/A
LFE level Yes N/A N/A
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Speaker placement
As the placement of loudspeakers is very important for accurate mix monitoring —
especially for multi-channel mixing for surround sound — you should consider speaker
positioning, angling and level calibration when setting up your monitor system. If
necessary, consult the manufacturer of your monitor system for their recommended
surround formats.
Typical examples of loudspeaker placements for each panning mode (see Table 7
“Panning formats” on page 131). Please note that these are only an approximation and
should only be used as a guide.
Note: LCRS has a mono surround channel, which is often fed to two rear ‘satellite’
speakers.
a
Listening
distance
= =
45°
= =
L
R
Lr/Ls Rr/Rs
S
C
a = 30° for stereo (LR) and 45°
for all other panning modes
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Chapter 12: Soloing
With solo you can isolate the sound from a single channel, which is helpful in fault
finding and when equalising a signal. Pressing a solo button cuts all signals routed to
the monitor output, except the one local to the solo button (mix minus is bus mode of
the aux outputs, and does not affect the solo buses — if you solo an aux in mix minus
mode, you still only solo that channel). So, you can monitor a signal at a level
proportional to its level in the mix, in the same stereo position in the mix and with the
same reverberation as in the mix.
The PRO Series Control Centre has two independent solo systems, solo A and solo B.
Both have monitor and headphone outputs, and both can be used to PFL or AFL signals
from the same sources throughout the control centre. This flexible solo bus
configuration makes soloing of three-way monitor mixes — in-ears going to solo A and
wedge going to solo B — possible and also greatly enhances the usefulness of the
control centre for dual (two-person) operation (independent soloing).
Note: Solo A and B are not to be confused with area A and B (as in dual operation) and
monitor A and B.
Using solo A/B
With solo A/B on, solo goes to the selected solo bus with the following conditions:
• If the solo button is pressed only for a short time, the soloing to the selected solo
bus remains active when the button is released. If the solo button is held down, the
soloing to the selected solo bus is cancelled when the button is released.
• Pre-fader audio is sent to the selected solo bus if the associated PFL control for that
bus is active. Post-fader audio is sent to the selected solo bus if the associated PFL
control is inactive.
• Unless multiple solo activations to the same solo bus are concurrent, the solo
activation that occurred last — while the respective solo add mode (A or B) is
inactive — cancels all earlier solos to the same bus before it activates.
• Solos can also be operated from a VCA master when the channel to which they
belong is a member of that VCA. This is in addition to the local operation.
• Pressing the solo clear button associated with the solo bus (A or B) they are sending
to will clear active solos.
• A solo hierarchy exists for each of the solo buses in the control centre (see “Solo
hierarchy” on page 139). Activating a solo with a higher precedence in the hierarchy
deactivates all solos with less precedence and inhibits them from being operated. As
soon as the higher precedence solos are cleared, the stages of the inhibited solos are
restored and they resume normal operation.
Some modifications to this hierarchy are possible. For example, mix buses can be
used as sub-mixes (hierarchy is as described) or outputs (having same precedence
as master outputs).
• Pressing ADD (solo A/B) off cancels all solos.
• Soloing inputs and outputs (with solo add switched on):
• With any inputs active, you can’t solo outputs.
• With any outputs active, pressing an input solo overrides (cancels) the output
solo. Then, if you cancel the input solo(s), the output solo(s) returns.
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The effects of using the solo A and B buttons in combination are shown in the following
table.
The effects of using the solo destination controls are shown in the following table.
Table 10: Solo A/B destination controls
Solo A Solo B Effect
Off Off Solo goes to the A bus, but there is no solo in
operation.
On Off Solo goes to the solo A bus.
Off On Solo goes to the solo B bus.
On On Solo goes to the solo A bus.
Control Description
PFL direct input Direct inject to solo A from linked control centre,
active only while solo A is PFL.
AFL direct input Direct inject to solo A from linked control centre,
active only while solo A is AFL.
PFL direct output Mono summed direct output from solo A for linking to
another console.
AFL direct output Stereo direct output from solo A for linking to
another console.
Solo add:
• On (additive solos)
• Off (self-cancelling solos)
Disables self-cancelling solo A/B solos. (When
self-cancelling solos are selected, that is, with solo
add mode off, the solo being cancelled should be
deactivated before activating a new solo.)
Solo clear:
• On (some solo A solos)
• Off (no solo A solos)
Single button clearing of currently active solo A/B
solos.
Solo PFL:
• PFL (solo pre-fader)
• AFL (solo after-fader)
Switch all current and future solo A/B activations to
send the solo A/B bus pre-fader.
Solo in place (SIP):
• On (SIP active)
• Off (SIP inactive)
When active, SIP mutes all channels except the one
being soloed. However, the audio of the soloed
channels is still placed on the monitor outputs. For
more information on SIP, see “Solo in place (SIP)” on
page 139.
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Solo hierarchy
The solo system add-mode hierarchy works as follows:
• The highest level of solos will be the inputs and returns. When active, these will
override and inhibit the remaining solo sources (auxes, matrices and masters).
• Within the constraints of the two-level solo hierarchy, only one source can be active
on any channel at any instant:
• Input channels: Input channel <--> Aux AFL <--> Direct out <--> Side chain
listen
• Return channels: Return channel <--> Direct in
• Aux buses: Aux bus <--> Direct in <--> Side chain listen
• Matrix outputs: Matrix bus <--> Direct in <--> Side chain listen
• Master outputs: Master bus <--> Direct in <--> Side chain listen
An additional constraint is placed on the side chain listen. This is due to the nature
of the DSP, where only one side chain listen can be active on the control centre at
any time, regardless of whatever else is active in the same solo hierarchy level.
• If an input channel solo is active via a VCA master solo, soloing the input temporarily
overrides the VCA master solo. However, soloing a direct input or AFL solo on the
same channel or a side chain solo on any channel, cancels both the input solo on
that channel and any VCA master solos to which the input channel is assigned.
Solo in place (SIP)
By using solo in place (SIP), you can cut all channels from the main mix (except soloed
ones) by pressing a solo button. SIP lets you check the contribution from soloed
channels at the actual levels they occur in the mix, that is, taking into account the main
fader setting. If solo buttons cut the main output (main mix) they must only be used in
rehearsals. Sometimes, SIP selection buttons are disabled during recording (solo safe)
or revert to AFL (only affects monitor outputs). See “solo system section” on page 149.
To prevent accidental SIP activation, the SIP button has a hinged clear plastic cover
that has to lifted up before you can operate it.
For SIP purposes, master outputs can be the main master bus or, if configured, a
multi-channel output mix.
To be eligible for SIP muting, channels must be input channels and set up to solo to the
solo A bus; channels with any other combination cannot be subjected to SIP muting.
Channels eligible for SIP muting that are currently or subsequently muted by a means
other than SIP (that is, local button press, auto-mute or scene recall) remain muted,
regardless of the SIP status. On removal of the overriding mute, the mute is restored
according to the current SIP status, see Chapter 13 "Muting" on page 141.
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Chapter 13: Muting
You can interrupt (mute) the output signal of a channel. This is generally used for
backstage mics, guitar switch over etc. Channel mutes can be activated by any of the
following, which (except the VCAs) mute the channel outputs and update the channel
mute status indicator:
•Local MUTE button press.
• Auto-mutes (mute groups/control groups) — see “Auto-mute (mute) groups” on
page 180.
• VCAs — see “VCA and POP groups” on page 177.
• Scene recall (automation) — see Chapter 20 "Scenes And Shows (Automation)" on
page 197.
• SIP — see “Solo in place (SIP)” on page 139.
To see which outputs are affected by channel muting, refer to Appendix B “Functional
Block Diagrams”.
Control methods, interactions and corresponding states of channel mute. In the
diagram, all of the transitions between states, with the exception of State 1 to State 0
“If not SIP muted”, are events. The “If not SIP muted” transition is not an event, it
happens as soon as the indicated test condition (“If not SIP muted”) is true. Also,
“Mute on” and “Mute off” refer to mute activations and deactivations using the local
MUTE button press method; SIP mutes only apply to input channels (the “If not SIP
muted” exit condition from State 1 is always true for other channel types). An “Auto
mute on” and “Auto mute off” are achievable in several different ways.
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Chapter 14: Monitors And
Communications
This chapter describes the monitoring and communications functions of the PRO Series.
Monitors (A and B)
To match the two-bus solo system there are two monitor outputs, A and B, which
control their respective output levels. These are controlled from the monitor section on
the master bay (see Figure 20 “Monitor A and B strips” on page 144). Each monitor
output has:
• The ability to monitor mono and stereo outputs, and an external input.
• An external talkback input.
• A local monitor output.
• A headphone output.
•Delay compensation.
• Control of the solo buses.
Although the capabilities of both monitors are the same, monitor A is the primary
output. They both have a fader control, and there are six balanced XLR outputs on the
rear panel (see “Monitor and assignable outputs/surround section” on page 268).
The monitor output controls do not have support from the screens and are not affected
by automation.
The analogue section of monitor has six balanced XLR outputs (see “Monitor and
assignable outputs/surround section” on page 268). These feed the six speaker XLRs
and two headphone sets. Monitor inputs are fed from the router/line I/O module that
contains digital solo source signals etc. converted to analogue, as selected on the
control surface.
Only the meters have GUI support. The monitor a and monitor b meters monitor the
peak signal levels of stereo left and right for both monitor paths. The metering
capabilities of both monitors is the same.
>> To switch control of headphones to fader
Press C/O.
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Figure 20: Monitor A and B strips
Item Element Description
1 Monitor strip Monitor a strip.
2 Monitor strip Monitor b strip.
3 Meters monitor a and monitor b output panel meters.
4 Output panels monitor a and monitor b output panels.
5 Meters left and right meters for monitor a.
6 Meters left and right meters for monitor b.
7 Fader Non-automated fader for control of monitor A
speaker level from -∞ to +10.
8 C/O switch fader switch that switches control of output on
headphones to fader to allow fader control of
headphones.
9 DIM button Dims monitor signal output level by 20dB on monitor
speakers.
3
4
11
10
9
8
7
5
21
56
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Delay (GUI only)
You can delay each monitor output signal (A and B) individually by up to
500 milliseconds (ms). This is done via the two delay sections in the Monitors screen.
This function does not have support on the control surface.
Monitor A and B delay sections on the GUI
Solo system
solo a and solo b system sections allow solo signals to be selected independently for
each monitor system (A and B). These can be selected as AFL (PFL extinguished), PFL
(PFL illuminated), additive (ADD enabled) or interlock cancelling.
The monitor outputs can be configured for different uses:
•normal
• dual operation
• LCR monitor
• broadcast
•user defined
Each of these modes changes the interleaving logic between differing areas of the
monitor output. A mode select button scrolls through the possible options.
Additionally, there is a solo in place switch for activating the SIP function.
10 MUTE button This is a headphones mute button that mutes the
headphone jack.
11 Control knob Adjusts headphones level, in the range infinity (∞) to
+10dB.
Item Element Description
1 Control knob Adjusts the monitor output signal delay in the range
0ms to 500ms.
2 Up/down spin
buttons
Provide finer adjustment of the monitor output signal
delay.
3 ON switch Switches the delay on/off.
4 Two delay value
fields
Show the current delay value in milliseconds (ms)
and metres (m).
Item Element Description
3
2
1
4
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Solo system controls on the control surface and GUI
solo in place switch
The solo in place (SIP) switch puts the
control centre in SIP mode. In this mode,
pressing a SOLO button in an input fast
strip activates a mute of all other channels
by temporarily overriding the primary
source selection, assuming it is set to the
appropriate monitor (A or B); talk back
remains unaffected.
When SIP is switched on, all unsoloed inputs are muted, except the auto-mutes. With
SIP in operation, pressing a SOLO button in a VCA section (for a group) solos all group
members, while muting non-group members. When SIP is switched off, any solos are
kept active but the mutes are removed (except the ones with auto selected, which are
left alone).
As this is an important function that may have detrimental consequences, the button on
the control surface is protected by a plastic cover to prevent it being inadvertently
switched on/off.
You can protect a channel from this function by switching on its mute safe (see “Safes”
on page 285).
Solo system
sections
SIP switch
Speaker swap
switch
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>> To activate SIP
1 Do one of the following:
• On the control surface, lift up the cover of the solo in place button and then
press the button.
• At the GUI, choose home
Monitors. Then click solo in place.
2 In the “Activate SIP ?” message window, click OK.
>> To deactivate SIP
Press/click the solo in place button (control surface or GUI).
C/O switch
The C/O (a/b speaker) switch (control surface only) swaps
speakers A with speakers B. The button’s LED illuminates when the B
set of speakers are on.
Monitor output (a and b) sections
The monitor output sections — output a and
output b — have common controls for the monitor A
and B sections. The monitor’s output level is
controlled by a non-automated fader, a DIM switch
and left and right mutes (see Figure 20 “Monitor A
and B strips” on page 144).
The buttons in each output section have an integral
LED for on/off indication, and have the following
functions:
• MONO/[MON] switch, sums left and right signals,
but with a ±3dB loss. With 0dB on monitor A left
and nothing on monitor A right, pressing MONO
gives -3dB on both monitor A left and monitor A right. However, with 0dB on both
monitor A left and monitor A right, pressing MONO gives +3dB on them both.
• ø/[PHS] phase reverse switch, reverses the phase of the right monitor signals.
• LEFT/[LFT] and RIGHT/[RGT] switches, route left and right monitor signals,
respectively, to both left and right monitor speaker outputs. These switches can be
used in combination, as shown in Table 11 below.
Table 11: Monitor signal routing
LEFT
button
RIGHT
button Monitor signal routing
Off Off Left and right monitor signals are routed normally, that is,
left monitor signal is routed to the left monitor speaker
output, and the right one is routed to the right monitor
speaker output.
On Off Left monitor signal is routed to both of the monitor speaker
outputs.
Off On Right monitor signal is routed to both of the monitor
speaker outputs.
On On Left and right monitor signal routing is swapped over, that
is, left monitor signal is routed to the right monitor speaker
output, and the right one is routed to the left monitor
speaker output.
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source (a and b) sections
The source a and source b sections contain monitor
input selector switches. On both the A and B
systems, these define the source for the monitor
section from the possible ‘primary’ choice of stereo
master (ST), mono master (MONO) or external
(EXT). Additionally, each section has a talkback
switch.
The function of the buttons in each source section is
as follows:
• TALK/[A and B] switches, sum the talk back
signals to the solo bus. The talk mic section (see
“Talk mic” on page 154) has a level control knob that is shared between the two
monitor paths.
• ST switch, routes post-fader stereo master mix to stereo local monitor outputs.
• EXT switch, routes stereo external input (two-track return etc.) to stereo local
monitor outputs.
• MON switch, routes post-fader mono masters mix to stereo local monitor outputs.
solo (a and b) sections
The solo signals can be selected for each monitor
system (A and B) to be AFL, PFL, additive or
interlock cancelling. PFL and AFL audio buses may
accept injected external signals, and two control
knob level controls make adjustments.
PFL and AFL levels are adjustable via the pfl level
and afl level control knobs; see “solo system
section” on page 149.
The function of the buttons in each solo section is
as follows:
• PFL switch, sends mono pre-fader listen (PFL)
solo bus signals to headphones and local monitor outputs. With PFL switch disabled
(LED extinguished), stereo after fader listen (AFL) solo bus signals are sent to
headphones and local monitor outputs.
• ADD switch, allows multiple channel access to solo buses. When solo add mode is
off, pressing a solo switch cancels any currently active solos. Multiple solos (for
example, stereo left and right signals) can be monitored in this mode provided solo
switches are pressed at approximately the same time. When solo add mode is on,
auto-cancelling is defeated, which allows multiple channel or output soloing. In this
mode, input solos have priority over output solos and VCA solos, and will temporarily
override them. When input solo is cancelled, output solo or VCA solos will return.
• CLEAR switch, illuminates when a solo switch is active in its monitor section and,
when pressed, clears any solo switches in that section.
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solo mode section (GUI only)
On the GUI, the solo mode section has a select
button by which you can cycle through the solo
mode options to select the one you want. Each
option has an LED that illuminates when its option
is selected.
The options are as follows:
• normal — both solo systems (A and B), are
active and behave as a single solo system.
• dual op. — in dual operator mode, both solo systems (A and B) are totally
independent of each other. The solo B button, in addition to routing the soloed
material to monitoring system B, determines which set of PFL, ADD and CLEAR
controls (see “solo (a and b) sections” on page 148) are applied to the solo.
• lcr mon. — left-centre-right monitor mode is similar to normal mode, but when
nothing is being soloed the left and right masters are routed to the monitor A output
and the mono master is routed to the monitor B output.
Pressing any solo switch on the control centre temporarily overrides the selected
primary source selection, while the talk assignment is unaffected (this signal is
summed further down the signal path, so as not to affect the monitor meters).
Each mode changes interleaving logic between different areas of monitor output.
• broadcast — routes stereo masters to the monitor A output and activates all the
solo B controls so that soloed material is routed to the monitor B outputs. This
allows the master outputs to be continually broadcast (probably the on-air
program), while the other material is soloed.
• user def. — in user-defined mode, you can set up the monitoring system. These
settings are recalled on return to this mode after using one of the other solo modes,
for example, normal mode or broadcast mode. (User defined monitor settings are
not stored in scenes or show files.)
• surround — all levels are controlled from the channel A fader.
solo system section
The solo system section has three control knobs,
as follows:
• pfl level control knob — PFL audio bus may
accept injected external signals. This control
knob adjusts the pre-fader level in the range
infinity (∞) to +10dB.
• afl level control knob — AFL audio bus may
accept injected external signals. This control
knob adjusts the after-fader level in the range
infinity (∞) to +10dB.
• talk back control knob — adjusts the talk back level, in the range infinity (∞) to
+10dB.
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The following four sections in the Monitors screen allow you to patch the solo system
signals.
• talkback input
• pfl direct input
• afl direct input left
• afl direct input right
For routing details, see Table 25 “Navigating to the Patching screen” on page 418.
Signal generator
The signal generator section can output to pink noise (pink noise generator) or sine
wave tone (sinusoidal oscillator), and connect to the internal and external talk buses.
Signal generator controls on the control surface and GUI
Item Element Description
1 frequency/[freq]
control knob
Gives continuous adjustment of the sinusoidal
oscillator frequency from 50Hz to 5kHz.
2 1kHz/[1K] switch Overrides the swept frequency control (item 1) and
provides a fixed 1kHz tone.
3 PINK switch Overrides the sinusoidal oscillator and converts
output signal to pink noise.
4 OSC switch This OSC external switch connects signal generator
output to talk external output XLR.
1
2
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6
1
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2
6
3
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The OSC switches (internal and external) are the talk routing switches.
5 OSC switch This OSC internal switch connects signal generator
output to the control centre’s internal talk and talk
select buses. The internal talk bus can then be mixed
onto any of the control centre’s buses by pressing the
internal talk switches associated with those buses, or
mixed onto a group of buses by activating an internal
talk group (see “Talk osc/routing” on page 152).
6 level control knob Gives continuous adjustment of signal generator peak
output signals from off (4) to +10dB.
Item Element Description
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Talk osc/routing
The talk / osc routing, or ‘internal talk groups’ section, sends signal generator and
talk mic signals to buses within the control centre. It contains eight talk group switches
used for selecting the destination of the talk and OSC internal signals. Four of the talk
group switches are user-configurable. The GUI has an additional four configuration
switches for programming.
For information on programming, see “Programming the groups” on page 183.
Talk osc/routing controls on the control surface and GUI
Item Element Description
1 ALL switch Routes the talk/OSC internal signal to all outputs.
2 INPUT/[INP]
switch
This input switch routes the talk/OSC internal signal
to the input section.
3 AUX switch Routes the talk/OSC internal signal to all auxes.
4 MTX switch This matrix talk switch routes the oscillator or talk
signal to the master outputs.
5 Switches These are fixed bus talk group switches.
6 Switches These are user-assignable talk group switches.
7 CONFIG switches Each of these GUI only configuration switches opens
the Talk Groups screen and selects its associated
group, ready for programming (see “About the
control group screens” on page 182).
5
6
1
2 3 4
1 2 3 4
5
6
7
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Internal talk groups
You can assign talkback or send test signals to any audio bus on the PRO Series. Preset
and user-configurable ‘talk’ groups allow you to, for example, talk to groups of
performers in a monitor mix or make group announcements. Also, by using the internal
tone oscillator, you can perform signal path testing and equipment alignment.
There are eight ‘talk’ groups available (four of each type), which are operated via
pushbutton in the talk/osc routing section of the master bay. Using the preset talk
groups you can route to all inputs, all auxes, all matrices or all outputs. Or, you can
create your own talk groups (up to four) and choose which of these you want in each
group; this is done via the GUI menu (see “Talk groups” on page 181).
Before you can select a talk group, the TALK/internal and/or OSC/internal buttons
must be switched on. (This also applies to generator routing.) Also, if any internal talk
or osc generator routing is active when the TALK/internal and/or OSC/internal
buttons are both switched off, this routing is cancelled.
When a talk group is activated, all talk group member functions are activated.
>> To activate a talk group
1 Make sure either one or both of the ‘internal’ buttons, that is, the TALK
(internal) button in the talk mic section and the OSC (internal) button in the
signal generator section, are on.
2 In the talk/osc routing section, press the desired talk/oscillator routing button
and hold down (for at least one second) until the button illuminates.
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Talk mic
The control surface has an internal talk mic that lets you talk to external locations, and
you can also be talked to from an external location.
For the input and output talk connections, see “talk section” on page 268.
Internal talk mic
This is located in the talk mic section, and contains the controls for both the internal
talk mic and external talkback functions, which control a talkback microphone
connected to the PRO Series Control Centre. Both functions utilise the compressor
(limiter), which is in the microphone signal path immediately before the talk level
control.
The ouputs from the internal mic can be connected to the internal talk bus/talk external
XLR output (see Appendix B “Functional Block Diagrams”).
Talk mic controls on the control surface and GUI
Item Element Description
1 TALK/[TLK]
switch
This talk internal switch connects the talk mic output
to the control centre’s internal talk system, while
simultaneously dimming all local outputs by 20dB to
prevent ‘howl round’. The internal talk bus can then
be mixed onto any of the control centre’s buses by
pressing the internal talk switches associated with
those buses, or mixed onto a group of buses by
activating an internal talk group (see “Talk osc/
routing” on page 152).
2 TALK/[TLK]
switch
This talk external switch connects the talk mic output
to the talk external output XLR.
3 level control knob Gives continuous adjustment to the post-limiter
signal from off (4) to +10dB.
6
1
2
3 4 5
1
2
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The three control knobs are used in conjunction with mic XLRs (in the screen housing
and the rear connector panel) and the two TALK routing switches (internal and
external).
>> To select the internal talk mic
1 In the talk mic section of the master bay, press TALK (internal) to switch in the
talk mic section (see “Talk mic” on page 154).
2 In the source a or source b section of the master bay, press TALK. Your
chosen section will determine which system bus (A or B) the talk mic will be
sourced from (see “Monitor output (a and b) sections” on page 147 and “source
(a and b) sections” on page 148).
External talkback
The external talkback input is a mic/line input at the stage end of the system that,
when enabled in the monitor section (see “Monitor output (a and b) sections” on
page 147), can mix onto the local monitor outputs.
4 limiter control
knob
Gives continuous adjustment of the peak limiter value
from 0dB to +20dB.
5 mic gain control
knob
Provides continuous mic amplifier gain adjustment of
the mic connected to mix bay control surface. Range
is +15dB to +60dB and operates in conjunction with
the peak limiter.
6 Talk patching
sections.
See Table 25 “Navigating to the Patching screen” on
page 418.
Item Element Description
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Chapter 15: Graphic Equaliser (GEQ)
This chapter describes the internal GEQs of the PRO Series. Initially, it explains how to
use the PRO Series Control Centre to configure and operate the GEQs and then details
all of their available control functions.
Overview of the GEQs
The PRO Series Control Centre incorporates a graphic equaliser (GEQ), which is closely
based on the Klark Teknik DN370 Graphic Equaliser (see Appendix C “Klark Teknik
DN370 GEQ” for details). You can configure the PRO Series Control Centre to have set
numbers of these GEQs up to a maximum of 28 (PRO3) or 36 (PRO6 and PRO9), and
these are mutually inclusive of the number of effects you can have. For example, on a
PRO6 and PRO9 you can have two effects and 32 GEQs, but if you want six effects you
can only have 16 GEQs.
Each GEQ is a single-channel, 31-band, third octave graphic equaliser, and GEQ
features switched 2nd order treble and bass filters and two notch filters with variable
frequency ranges.
The GEQ is primarily a mono process, but in the case of stereo groups or mix channel
outputs, a stereo GEQ is controlled from a single set of controls.
You can control the GEQs remotely using the Klark Teknik DN9331 Rapide Graphic
Controller.
The GEQs are managed via a virtual eight-unit rack on the Graphic EQs screen. From
here you can open the window of any GEQ, which gives you full control over it.
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About the Graphic EQs screen
The Graphic EQs screen represents a virtual eight-unit rack of user-configurable GEQs.
The number of units (shown in the Graphic EQs screen below) depends on the number
of GEQs configured and the type of PRO Series Control Centre (see “To configure the
PRO Series Control Centre with the number of GEQs and effects” on page 161).
Figure 21: Graphic EQs screen (configured for 12 GEQs)
The main sections of the Graphic EQs screen comprise:
• GEQ patching source The border to the left each GEQ unit will display its source,
if patched. In the diagram above, GEQ 1 has been patched to “AS3” (aux 3).
• GEQ rack overview This section contains an overview of the total number of GEQ
racks in use, and also aids GEQ navigation/selection. The number of racks, which
ranges from one to five, is dependent on configuration.
• GEQ rack A ‘virtual’ rack containing up to eight GEQs. The rack also includes
STORE PRESET and LOAD PRESET user library buttons (see Chapter 24 "User
Libraries (Presets)" on page 235).
>> To open the Graphic EQs screen
Do one of the following:
• At the GUI, choose home
Rack UnitsGraphic EQs.
• In the primary navigation zone, press the effects/graphics access button twice.
>> To open a GEQ rack
In the Graphic EQs screen, click inside the desired unit.
GEQ rack
overview
GEQ rack
GEQ patching source
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About the GEQ window
On the GUI, the GEQ window shows a screen-width version of the selected GEQ’s front
panel. This gives you full control of the GEQ via the GUI controls (trackball and left and
right buttons) in the primary navigation zone. Below the GEQ is an assignable
controls panel (master bay GUI screen only), which lets you select and control the
GEQ faders (singly or in groups) and the controls on the right.
GEQ window
>> To open a GEQ unit window
In the Graphic EQs screen, click on a non-control area of the unit you want.
Item Element Description
1 COPY button Copy and paste function button (see Chapter
18 "Copy And Paste" on page 185).
2 PASTE button Copy and paste function button (see Chapter
18 "Copy And Paste" on page 185).
3 FLAT button Sets all of the GEQ’s faders to 0dB.
4 STORE PRESET
button
See Chapter 24 "User Libraries (Presets)" on
page 235.
5 LOAD PRESET
button
See Chapter 24 "User Libraries (Presets)" on
page 235.
6 CLOSE button Closes the GEQ window.
7 assignable
controls panel
See Chapter 19 "Assignable Controls (I Zone)" on
page 187.
8 GEQ panel Shows the front panel of the GEQ (see “GEQ front
panel features” on page 160.
9 Drop-down list For selecting the source of the GEQ.
1
9
23 45
8
7
6
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>> To patch a source to a GEQ
1 Open the window of the GEQ.
2 Open the GEQ source drop-down list. (An unpatched GEQ will have “None”
displayed in the text field.)
3 In the drop-down list, click the source
you want. For example, “Aux Send
3”. The new patching assignment will
appear in the source name field (as
shown right) and in the border on the
left of GEQ panel (see Table 21
“Graphic EQs screen (configured for
12 GEQs)” on page 158).
4 Click CLOSE to accept the change
and close the GEQ’s window.
The new GEQ patching source assignment
will appear in the virtual rack (see Figure 21
“Graphic EQs screen (configured for 12
GEQs)” on page 158).
GEQ front panel features
The front panel of the GEQ, as displayed on the GUI, represents the Klark Teknik DN370
Graphic Equaliser. It includes a graphic EQ (faders) section and a filters section.
Thirty one faders provide fine adjustment of each frequency band. The 31 frequency
bands are spaced 1/3 octave apart on the standard ISO 266 frequency centres. All the
functions of the GEQ can be bypassed via an EQ switch, such that the output will be the
same as the input.
The GEQ has one high pass filter, one low pass filter and two variable frequency notch
filters. Each filter is adjusted via a control knob on the GUI screen. To audition the
effect of the filters, use either the EQ switch (which will also bypass the GEQ) or the
individual filter switch.
GEQ front panel
Item Control Function
1 Fader (31-off). Adjusts signal level.
2 SLOPE button Switches the high or low pass filter between 6dB and
12dB. Adjacent yellow LEDs indicate the active band.
3 Low pass filter
control knob
Adjusts the cut off frequency, which is continuously
variable from 20Hz to 500Hz.
4 High pass filter
control knob
Adjusts the cut off frequency, which is continuously
variable from 2kHz to 20kHz.
3
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Configuring the number of GEQs (and effects)
GEQ (and effects) configuration is a GUI-only operation. We recommend that you
configure the number of GEQs and effects before you start using the PRO Series.
>> To configure the PRO Series Control Centre with the number of GEQs and
effects
1 At the GUI, choose homePreferencesGeneral.
2 In the Effects and GEQs section of the
Configuration Preferences option, open the
drop-down list (as shown right).
3 Select the option you want by clicking it. For example,
click the 3 Effects - 28 GEQs option (PRO6 or PRO9
only) to have three internal effects and 28 GEQs.
5 EQ button Selects the EQ. The adjacent green IN LED shows
the EQ is on (illuminated) or is being bypassed
(extinguished).
6 10-segment meter Shows the incoming signal level and is pre-EQ (but
post-gain control). Clipping is post-EQ (and post-
gain control), such that internal clipping due to
excessive EQ, that is, if a high input level is further
boosted by the use of EQ, will also be shown. The
LED functions are: two red LEDs illuminate when
signal has exceeded +20dBu and is being clipped;
two yellow LEDs illuminate when signal level exceeds
0dB (range is between 0dB to +20dB); and the top
five green LEDs encompass the signal level range of
between 0dB and -40dB, while the bottom one
illuminates when the signal has exceeded -40dB.
7 Q button Selects proportional Q (PROP.) or constant Q (CON.)
modes.
8 Notch filter control
knob
Adjusts the position of the notch filter within the
range 20Hz to 20kHz.
9 IN button Switches the respective high pass/low pass/notch
filter in/out.
10 Notch filter control
knob
Adjusts the position of the notch filter within the
range 200Hz to 2kHz.
11 Fader group ID
number
See “Controlling a GEQ via the I zone” on page 194.
Item Control Function
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Typical Effects and Graphic EQs screens as configured for the 3 Effects - 28 GEQs
option. Note the four small racks to the left of the main rack on the Graphic EQs
screen, which cater for the 28 GEQs; the selected rack unit is highlighted in yellow.
The following table shows the available Effects and GEQs options for the PRO Series.
Table 12: PRO Series effects and GEQs
Copying settings between GEQs
You can copy and paste all the settings of one GEQ to another.
>> To copy the settings of a GEQ to another GEQ
1 In the GEQ rack of the Graphic EQs screen, open the window of the GEQ that
you want to copy the settings from.
2 In the GEQ window, click COPY.
3 Close the GEQ window and then open the window of the GEQ that you want to
paste the settings to.
4 In the GEQ window, click PASTE.
Number of effects PRO3 GEQs PRO6 GEQs PRO9 GEQs
1283636
2243232
3202828
4162424
5122020
6 8 16 16
7 N/A 12 12
8N/A88
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Chapter 16: Internal Effects
This chapter describes the internal effects of the PRO Series. Initially, it explains how to
use the PRO Series Control Centre to operate the effects and then details all of their
available control functions and their use.
Overview of the internal effects
The Effects screen manages up to eight user-assignable effects devices, collectively
called the “internal effects pool”. This is a ‘bundle’ of onboard creative audio effects
that provide onboard facilities where outboard effects units would have traditionally
been required. The effects are displayed on the screen in a ‘virtual’ eight-unit rack.
Typical Effects screen containing all of the available effects. (The PRO3 only has six
rack unit positions.)
All of the points in the control centre’s signal flow where outboard effects can be
inserted, such as auxes and returns or insert points on input channels, audio
subgroups, mix and master buses, can be patched to effects in the internal effects pool
as well as external world XLRs. The following table shows the available internal effects
and where they can be found in this chapter.
Internal effect Section reference
Delay “Delay effect” on page 166
Virtual DN780 Reverb “Virtual DN780 Reverb effect” on page 168
Flanger “Flanger effect” on page 170
Phaser “Phaser effect” on page 171
Pitch Shifter “Pitch Shifter effect” on page 173
SQ1 Dynamics “SQ1 Dynamics effect” on page 174
3-Band Compressor “3-Band Compressor effect” on page 175
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Rack unit number allocation
Each unit position in the rack is allocated a rack
number that is recognised by the PRO Series
Live Audio System (shown right).
About the effect window
Similarly to the GEQ window on the GUI, the effect window shows a screen-width
version of the selected effect, which gives you full control of the effect via the GUI
controls (trackball and left and right buttons) in the primary navigation zone. A ‘virtual’
assignable controls panel below lets you select and operate the controls of the GEQ.
Effect window
Item Element Description
1 CHANGE DEVICE
TYPE button
Lets you select a different effect.
2 STORE PRESET
button
User library function button (see Chapter 24 "User
Libraries (Presets)" on page 235).
3 LOAD PRESET
button
User library function button (see Chapter 24 "User
Libraries (Presets)" on page 235).
4 CLOSE button Closes the effect window.
5 assignable
controls panel
See Chapter 19 "Assignable Controls (I Zone)" on
page 187.
1
2
3
4
5
6
7
8
1
7
23
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5
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>> To open an effect window
In the Effects screen, click on a non-control area of the effect you want.
Working with the effects
There are a number of ways of handling the effects, such as setting up, configuration
and operation, all of which involve the use of the GUI. However, most of these methods
can also be carried out using the I zone; see Chapter 19 "Assignable Controls (I Zone)"
on page 187.
>> To open the Effects screen
Do one of the following:
• At the GUI, choose home
Rack UnitsEffects.
• In the primary navigation zone, press the effects/graphics access button.
>> To operate an effect control
The method for controlling the effect controls is the same as for any control on a GUI
screen. For details, see “About GUI operation” on page 52.
>> To configure an effect
Similarly to the input channels, output channels, groups etc., you can change the name
of an effect and the background colour of its text field, as it appears on the GUI (see
“Configuring VCA/POP groups” on page 105).
>> To change an effect type
For details, see “To choose an effect” on page 110.
>> To route an effect
Effects are patched via the Patching screen. For details, see Chapter 8 "Patching" on
page 71.
Effect configuration
The following versions are available for each effect type. The PRO Series selects the
appropriate one automatically, depending on the configuration of the channel into which
the effect is inserted:
• Mono in and out: for mono auxes and returns, mono input channel, audio subgroup
and mix bus inserts.
• Stereo in and out: for stereo auxes and returns, stereo input channel, audio
subgroup and mix bus inserts.
If the mono/stereo pairing status of a channel is changed while an effect is inserted, the
effect will be replaced with the correct mono/stereo implementation.
6 Effect panel For details of the front panel for each effect, refer to
the effect sections later on in this chapter.
7 Drop-down list For selecting the source of the effect.
Item Element Description
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Effect programs
Some types of effect have associated factory presets and user-configurable programs,
which you can load within the effect (these are also stored in a show file). You can also
save all of the controls from one or more effects in a user preset, which will then
contain information about their settings, including the loaded factory preset or user-
configurable program.
For details of each effect type, refer to its section in this chapter. For information on
presets, see Chapter 24 "User Libraries (Presets)" on page 235.
Delay effect
The delay effect provides simple delay line based effects. Delay times can be specified
manually or by means of a ‘tempo-tap’ button. Three-mode delay algorithm:
• Single — one delay tap (mono or stereo processing).
• Dual — two delay lines (stereo insert only).
• Ping-pong — two delay lines with cross feedback.
Front panel of the delay effect
Item Control Function
1 BPM Sync button Activates BPM (TAP TEMPO) mode.
2 Left channel delay
time control knob
For entering the desired delay time. Value is shown
immediately below, in ms or BPM.
3 Range button Selects one of three delay time ranges (1-25ms,
10-200ms or 80-1600ms). Value is displayed
immediately below/above button.
4 Link button Links delay time of left and right channels.
5 Pan control knob Pans channel between L (left) and R (right) outputs.
6 Level control knob Adjusts the output level. Range is from off to +10dB.
7 Feedback control
knob
Adjusts the amount of negative/positive feedback
applied to delay. Controls the number of repeats.
Range is from -100% to +100%.
8 Blend control
knob
Adjusts the feedback blend from norm to cross.
9 Depth control
knob
Adjusts depth of delay modulation. Range is from
0 to 100.
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10 Damping section Contains a HF control knob that adjusts the HF
attenuation of delay repeats and an LF control knob
that adjusts the LF attenuation of delay repeats.
11 EQ section Contains a HI control knob that adjusts the amount
of HF (high EQ) cut or boost applied to the output.
LO control knob adjusts the amount of LF (low EQ)
cut or boost applied to the output. Range of both is
-12 to +12, with 0 at top dead centre.
12 Rate control knob Adjusts rate of delay modulation. Range is between
0.001Hz and 10Hz, with 0.7Hz at top dead centre.
13 Model select
button
Selects digital or analogue delay resolution. Current
selection is shown by the illumination of one of the
LEDs above (Dig. or Anlg.).
14 LR Out section Contains an ON switch for activating delay.
15 Gain control knob Adjusts the amount of gain between -20 and +20,
with 0 at top dead centre.
16 Mix control knob Adjusts the mix between dry (0%) wet (100%).
17 HF Depth control
knob
Adjusts depth of delay modulation. Range is 0 to
100, with 50 at top dead centre.
18 Right channel
delay time control
knob
For entering the desired delay time (in ms).
19 Tempo control
knob
Adjusts the tempo in tempo mode. Range is from 60
to 240 beats per minute (bpm).
20 Tap button For manually tapping the tempo once the unit is in
BPM Synch (TAP TEMPO) mode.
Item Control Function
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Virtual DN780 Reverb effect
The Virtual DN780 Reverb provides emulation of the vintage Klark Teknik DN780 Digital
Reverberator/Processor unit. The DN780 is not just a reverberation device, it also gives
the user a unique and flexible means of producing realistic acoustic simulations for
environments of all types and sizes. The provision of effects programs further extends
this versatility, making it a very powerful acoustic processing package.
Front panel of the reverb effect
Item Control Function
1 LF (low frequency)
control knob
REVERBERATION section control that adjusts the
decay time at the low end of the reverb spectrum.
Range is from -7 to +7.
2 HF (high
frequency) control
knob
REVERBERATION section control that adjusts the
decay time at the high end of the reverb spectrum,
which sets the absorption characteristic of the
simulated space. Range is from -7 to +7.
3 ROOMSIZE
control knob
Adjusts the average dimension of the simulated
space. Range is from 8 to 90 metres. A momentary
mute is implemented when this control is adjusted.
4 DECAY control
knob
REVERBERATION section control that sets the
overall (mid-band) reverberation decay time. Range
is from 0.1 to 18 seconds, depending on room size.
5 LEVEL control
knob
REFLECTIONS section control that acts as a ‘depth’
control by altering the apparent distance between the
sound source and the listener. Alternatively, adjusts
the input level for Sound-On-Sound/Infinite
Room. Range is from 0 to 9.
6 PATTERN control
knob
REFLECTIONS section control that controls the
‘density’ of early reflections. Selects the number and
spacing of Early Reflections/ADT/Multi-tap delays.
Range is from 1 to 9.
7 PRE DELAY
control knob
Controls the amount of delay (in milliseconds)
between the initial signal and the onset of
reverberation. On certain program types, pre-delay
is inserted between early reflections and reverb to
improve authenticity. Its range is algorithm
dependent.
Low level, phase-dependent ‘clicks’ are produced
when pre-delay is altered during the program.
8 List of algorithms
and algorithm
select button
These algorithms emulate the ones on the original
DN780. Use the select button to scroll through the
list to select the one you want.
13 11 9 10
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14
8
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The parameter controls give accurate adjustment of all reverberation parameters and
allow the engineer to create unique acoustic environments of virtually any type.
For more information on the Klark Teknik DN780, see Appendix D “Klark Teknik DN780
Reverb”.
9 MIX control knob Controls the DRY/WET output mix and ranges from
0% to 100%, respectively.
10 ST stereo input
button
Enhances original algorithm to provide stereo input.
11 Parameter display
panel
Shows the current settings for the selected algorithm.
12 IN button Switches in the Virtual DN780 Reverb effect.
13 LEVEL control
knob
AUDIO section control for adjusting the input level.
Range is from -
4 to +6dB, with 0dB at top dead
centre. This should be set to illuminate the -3dB LED
on the input headroom indicator during loud program
passages.
14 IN button AUDIO section MUTES control for removing feed to
the reverberation section, enabling the decay
qualities of the chosen setting to be confirmed.
15 REV button AUDIO section reverb MUTES control for providing a
rapid means of removing unwanted sounds.
16 Input headroom
indicator
AUDIO section meters, which comprise two
dual-column peak reading LED meters, ranging from
0dB to -27dB in 3dB steps. Each column consists of
10 coloured LEDs. The red LED illuminates at 3dB
before the clipping point, which also provides an
over-range warning for the arithmetical processor.
Item Control Function
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Flanger effect
The flanger effect consists of one or, if configured as stereo, two-tap delay lines. One
tap is fixed and the other tap position is modulated to provide ‘thru-zero’ flanging or
single tap modulation when ‘thru-zero’ is off.
Front panel of the flanger effect
Item Control Function
1 Delay control
knob
Adjust length of modulated delay line in milliseconds.
In ‘thru-zero’ mode, also sets the delay of the dry
path. Range is 0.1 to 10, with 5 at top dead centre.
2 ON button Switches the flanger effect on and off. Illuminates
when power is on.
3 Feedback control
knob
Adjusts the amount of negative/positive feedback
applied to the delay. Controls the number of repeats.
Range is from -100% to +100%, with 0% at top dead
centre.
4 Modulation meter A single row of 37 yellow LEDs are used to show the
modulation.
5 Out meters Two rows of 15 green LEDs, one each for L (left) and
R (right).
6 In meters Two rows of 15 green LEDs, one each for L (left) and
R (right).
7 Gain control knob Adjusts the signal level in dB. Range is from -20dB to
+20dB, with 0dB at top dead centre.
8 Invert switch Inverts the wet signal.
9 Mix control knob Adjusts the mix between dry (0%) wet (100%).
10 Hi EQ control knob Filters section control for adjusting the amount of HF
(high EQ) cut or boost applied to the effect output (in
dB). Range is -12dB to +12dB with 0dB at top dead
centre.
11 Lo EQ control
knob
Filters section control for adjusting the amount of LF
(low EQ) cut or boost applied to the effects output (in
dB). Range is -12dB to +12dB with 0dB at top dead
centre.
12 HF control knob Damping section control for adjusting the high
frequency (kHz) tuning of flanger feedback. Range is
1kHz to 20kHz, with 10kHz at top dead centre.
13 LF control knob Damping section control for adjusting the low
frequency (kHz) tuning of flanger feedback. Range is
20Hz to 1kHz, with 140Hz at top dead centre.
1 2 15 6 4 5 7
3 14 18
17 16 13 12 11 10 9 8
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Phaser effect
The phaser effect consists of one, or if configured for dual operation, two stereo phasers
connected in serial/parallel according to mode setting.
Front panel of the phaser effect
14 Depth control
knob
LFO Sweep section control for adjusting the intensity
of the effect by setting the depth of modulation as a
percentage. Interactive with Delay, as for Chorus.
Range is 0% to 100%.
15 Thru Zero switch LFO Sweep section control for selecting ‘thru zero’ or
normal mode. Illuminates to indicate switch is on.
16 Spread control
knob
LFO Sweep section control for setting the relative
phase of left/right modulation. Range is 0 to 180,
with 90 at top dead centre.
17 Shape control
knob
LFO Sweep section control for adjusting the shape of
the modulation waveform. Range is from Tri to Exp.
18 Rate control knob LFO Sweep section control for adjusting the rate of
modulation (Hz). Range is between 0.01 and 50,
with 0.7 at top dead centre.
Item Control Function
1 rate control knob
(channels 1 and 2)
Controls the rate of modulation in Hz. Range is from
0Hz and 40Hz.
2 manual control
knob (channels 1
and 2)
Sets the sweep offset or performing manual sweep.
Range is from 500Hz to 24kHz, with 3k5Hz (3,500Hz)
at top dead centre.
3 Modulation meter A single row of 15 yellow rectangular LED segments
are used to show the modulation on each channel.
4 hi eq control knob Adjusts the amount of HF (high EQ) cut or boost
applied to the effect output (in dB). Range is from
-12dB to +12dB with 0dB at top dead centre.
5 lo eq control knob Adjusts the amount of LF (low EQ) cut or boost
applied to the effects output (in dB). Range is from
-12dB to +12dB with 0dB at top dead centre.
6 gain control knob Adjusts the signal level (dB). Range is from -20dB to
+20dB, with 0dB at top dead centre.
Item Control Function
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7 feedback control
knob
Adjusts the amount of negative/positive feedback
applied to the delay. Controls the number of repeats.
Range is from -100% to +100%, with 0% at top dead
centre.
8 spin control knob Adjusts the amount of relative phase of left/right
modulation. Range is from 0% to 100%.
9 STAGES button Selects the number of all pass stages, which sets the
number of notches in the frequency response.
10 SWEEP button Sets the modulation waveform shape.
11 MODE button Selects the operating mode: single; dual series; dual
parallel; linked series; or linked parallel. When
linked, modulation of phasers 1 and 2 are linked.
12 ON button Switching the phaser effect on and off. Illuminates to
indicate effect is on.
13 depth control
knob
Controls the intensity of the effect by setting the
depth of phasing filters. Range is from 0% to 100%.
14 blend control knob Adjusts the mix between dry (0%) wet (100%).
15 Mode Displays the current mode, selected by the MODE
switch.
16 Input meters Two rows of 15 green LEDs — one row each for
L (left) and R (right) — comprise the inputs meters.
17 Sweep Displays the sweep, selected by the SWEEP button.
18 Output meters Two rows of 15 green LEDs — one row each for
L (left) and R (right) — comprise the output meters.
19 Number of all pass
stages
Displays the number of all pass stages, selected by
the STAGES button.
Item Control Function
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Pitch Shifter effect
The Pitch Shifter effect is a sound processing device for changing the pitch of an audio
signal without changing its duration.
Front panel of the pitch shifter effect
Item Control Function
1 COARSE control
knob
Adjusts the pitch shifting amount in whole tones.
Range is from -12 to +12, with 0 at top dead centre.
The numerical value is shown underneath.
2 FINE control knob Fine tunes the pitch shifting in 1% increments of a
whole tone. Range is from -100 to +100, with 0 at
top dead centre. The numerical value is shown
underneath.
3 PREDELAY control
knob
Sets the delay time before the pitch shift. Range is
from 1 to 500, with 22 at top dead centre.
4 FB DELAY control
knob
Sets the delay time on the feedback loop. Range is
from 1 to 500, with 22 at top dead centre.
5 FEEDBACK control
knob
Sets the amount of feedback (output fed back to
input) in %. For more details, see “Feedback” on
page 174. Range is from 0 to 100, with 50 at top
dead centre.
6 LEVEL control
knob
Sets the output level of the individual channel. Range
is from -40 to -10, with -20 at top dead centre.
7 PAN control knob Adjusts the position of the individual channel signal in
the unit's stereo output.
8 HF DAMP control
knob
Adjusts the HF attenuation of delay repeats. Range is
from 2k to 20k, with 6k at top dead centre.
9 HI EQ control
knob
Boosts/attenuates high frequencies. Range is from
-12 to +12, with 0 at top dead centre.
10 OUT LVL control
knob
Sets the overall output level. Range is from -20 to
+20, with 0 at top dead centre.
11 INPUT and
OUTPUT meters
Shows the input/output signal levels on dual
20-segment meters (-36dB to +21dB).
12 LF DAMP control
knob
Adjusts the LF attenuation of delay repeats. Range is
from 20 to 400.
13 LO EQ control
knob
Boosts/attenuates low frequencies. Range is from
-12 to +12, with 0 at top dead centre.
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Feedback
The pitch shifter accepts the input signal and then delays it and plays it back at a
different speed, so that its output is delayed and pitch shifted. When this output is fed
back into the pitch shifter, further delays and more pitch shifting occur. This can lead
to some strange effects, such as feedback.
SQ1 Dynamics effect
For information on the Klark Teknik Square One Dynamics, refer to its Operator Manual
(part number DOC02-SQ1DYNAMIC).
Front panel of the SQ1 dynamics effect
14 MIX control knob Controls the balance between dry signal and effect.
Range is from 0 to 100, with 50 at top dead centre.
15 ON switch Switches pitch shifter effect on/off.
Item Control Function
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3-Band Compressor effect
The 3-Band Compressor effect is for applying different compression profiles to different
areas of the audio spectrum.
Front panel of the 3-band compressor effect
Item Control Function
1 In button Switches the stereo 3-band compressor in/out. It
has an adjacent LED (yellow) for in/out indication.
2 Threshold control
knob
This control is in the Lo, Mid and Hi sections, and is
used for setting the threshold at which compression
begins. Range is from -50dB to +25dB.
3 Ratio control knob This control is in the Lo, Mid and Hi sections, and is
used for setting the compression ratio. Range is from
25:1 to 1:1.
4 Make-Up control
knob
This control is in the Lo, Mid and Hi sections, and is
used for boosting the output level of the compressed
signal. Range is from 0dB to +24dB.
5 Release control
knob
This control is in the Lo, Mid and Hi sections, and is
used for setting the release time of the compressor.
Range is from 0.05sec to 3sec.
6 Attack control
knob
This control is in the Lo, Mid and Hi sections, and is
used for setting the speed of the onset of
compression once the threshold has been exceeded.
Range is from 0.2ms to 50ms.
7 SOLO button This control is in the Lo, Mid and Hi sections, and is
used for listening to the compressor’s sidechain filter.
It has an adjacent LED (yellow) for on/off indication.
8 Three-section
meter
This has individual meter elements for input (In),
gain reduction (GR) and output (Out).
9 Soft Link button Links the left and right channels. It has an adjacent
LED (yellow) for on/off indication.
10
Global Knee
control knob
Sets the rate of transition across the threshold.
Range is from 4 to 40.
11 Lo Mid Freq
control knob
Sets the crossover point between the Lo and Mid
compressors. Range is from 40Hz to 1kHz.
12 Hi Mid Freq
control knob
Sets the crossover point between the Mid and Hi
compressors. Range is from 640Hz to 16kHz.
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Chapter 17: Control Groups
PRO Series control groups comprise VCA/POP groups, auto-mute groups and talk
groups. This chapter explains the function of each group and shows you the areas on
the control surface and GUI that are used for their operation and management.
Many of the control group functions can be operated at either the control surface or
GUI. Each control group has its own area on the control surface from where its groups
can be set up and recalled, and there is a main option in the GUI menu (Control
Groups) from which you can open the Groups Sheet screen and the group-specific
screens. Using these screens, you can configure and operate the groups, and also
manage group membership.
VCA and POP groups
Using the VCA/POP group controls, you can bring selected channels to the control
surface for joint control. The VCA/POP group sections are situated at the bottom of the
mix bay. When a VCA/POP is selected, its members are unfolded to the input bays.
VCA and POP groups on the control surface and GUI
POP groups
(see
page 178)
POP groups
(see page 178)
VCA groups
(see page 179)
VCA groups
(see
page 179)
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There are 10 VCA groups. Their controls, such as fader, LCD select button etc., are
housed in fast strips at the bottom of the mix bay. POP groups, however, are fewer in
number (six-off). These only have an LCD each, and are housed in a population
groups section just above the VCAs.
The GUI provides full support for the hardware controls. This is in the VCA Groups
screen of the GUI menu, which also includes an unfold button and a solo area B button
for each group. This screen also provides VCA/POP group configuration and
management functions.
Each VCA/POP group can have a combination of channel types as members, although it
is usual to have only either inputs or outputs. Only the input channels are unfolded to
the control surface (in the input bays).
>> To open the VCA Groups screen
At the GUI, choose home
Control GroupsVCA Groups.
VCA fast strips
The VCA groups section contains 10 VCA fast strips. Each strip contains an LCD select
button, a solo routing section and a fader. The solo routing section activates solo
routing and selects which monitor section (A or B) the signals are routed to. The GUI
has additional controls.
VCA fast strips on the control surface and GUI
Item Control Function
1 LCD select button Selects the VCA group and is also used for group
membership management. For more information,
see “Navigating the input channels” on page 59.
2 mute safe LED Illuminates to show that mute safe is on.
3 fader safe LED Illuminates to show that the VCA control group fader
has been removed from scene recall.
4 vca control group
fader
Adds its level control on top of the local channel fader
controls of the group members.
1
2
3
4
6
5
3
2
4
5
6
7
8
9
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POP groups
The POP groups have limited functionality (see “Using VCA/POP groups” on page 104).
Each group has an LCD select button on the control surface and an unfold and area B
button on the GUI. These controls function in a similar way to those in the VCA groups.
Working with VCA/POP groups
When you recall a group, its input channel members are unfolded to the control surface
of the 12-channel input bay. They are displayed from right to left across the control
surface in ascending order (according to channel number). When this bay is full,
population starts at the right of the 4-channel input bay. Any input channel members
remaining will not be visible, but they can be navigated to the control surface using the
navigation controls (see “To assign an input channel to the control surface” on
page 62).
When you deselect a VCA/POP group, its settings revert to those that were current
when the group select button was last pressed. Recalling another VCA/POP group
deselects the one currently selected.
For information on group selection and navigation, see Chapter 6 "Working With The
Control Centre" on page 51 and Chapter 7 "Navigation" on page 59.
5 SOLO button Activates signal routing from all assigned channels to
the monitor A section of the control centre. It is used
to monitor the VCA master faders by creating a mix
on the solo buses, which consists of all input channels
and audio mix groups that are assigned to control
from corresponding VCA masters.
6 MUTE switch This is, technically, not a mute but a fader minus
infinity (-∞) switch that overrides the VCA group
master (without moving its physical position). The
VCA group mutes can be stored and recalled as part
of the scene automation. When on, it mutes all
post-fader signals from channels that have been
assigned to the VCA group master (regardless of local
press, scene mute and SIP mute, which affect only
the mute status indicator while channel is muted by
VCA). However, it does not update the mute status
indicator on the channel (only channel outputs). On
removal of the VCA mute, the channel outputs are
updated to the current state of the channel mute
status indicator.
The VCA control group mute has been removed from
scene recall and auto-mute action. When mute safe
is active, all channel mute activation methods, other
than by local press, are ignored. De-activating the
mute safe condition re-evaluates and applies the
current status of auto-mute and SIP mute.
7 Area B button (GUI
only)
Changes input channel selection from default (area A)
to those input channels set to area B mode — in the
input bays.
8 unfold button
(GUI only)
Assigns the VCA group to the control surface,
unfolding the group members to the input bays.
9 VCA/POP group ID Fixed and user-configured name of group.
Item Control Function
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For details of VCA/POP group configuration and operation, see “Using VCA/POP groups”
on page 104.
>> To select another group
With a group already selected, select another group by pressing the LCD select button
of the desired group.
>> To clear group selection
Press the LCD select button of the currently selected group.
Auto-mute (mute) groups
You can simultaneously mute any channels you want. This is done by assigning them
to an auto-mute group. You can have up to eight auto-mute groups, which are located
in the auto mute groups section (just above the primary navigation zone). A group is
muted by pressing its auto-mute button.
Auto-mute groups on the control surface and GUI
Item Control Function
1 MUTE switch Mutes/unmutes all of the assigned channels. Also,
the same channel can be assigned to more than one
auto-mute group — the channel will be auto-muted,
while any of the mute groups to which it is assigned
are muted.
2 SELECT switch Programs the auto-mute channel assignment. Shows
current assignments to auto-mute group and allows
them to be changed.
3 Name field Default and user-configured auto-mute group name.
1
2
3
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Auto-mute groups are managed via the Mute Groups screen, from where you can
assign channels to any of the groups. You can configure the name and background
colour of a mute group at the Groups Sheet screen (see “Configuring the groups” on
page 184).
An auto-mute on can happen because of:
• Activating an assigned auto-mute.
• Assigning an already active auto-mute.
• Recalling a scene that assigns an already active auto-mute.
An auto-mute off can happen because of:
• Deactivating all of the assigned auto-mutes.
• Unassigning all of the active auto-mutes.
• Recalling a scene that de-assigns all of the active auto-mutes.
>> To open the Mute Groups screen
At the GUI, choose home
Control GroupsMute Groups.
Talk groups
The Talk Groups screen manages the members of the talk groups. Each talk group
section shares control with the talk osc/routing section on control surface (see “Talk
osc/routing” on page 152).
Talk groups on the control surface and GUI
Item Control Function
1 Name field Default and user-configured talk group name.
2 Button User-assignable talk group button.
1
2
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>> To open the Talk Groups screen
At the GUI, choose home
Control GroupsTalk Groups.
>> To deactivate a talk group
Do one of the following:
• Press the button of the talk group that is currently active.
• Quickly press a talk group button other than the one currently active.
• Press and hold down (for more than one second) a talk group button other than the
one currently active. This will activate the talk group whose button you are
pressing.
• Switch off both the TALK (internal) and OSC (internal) buttons.
About the control group screens
Each type of control group
screen has — apart from the
channel strip, which is
common to most screens —
two main areas (shown
right). The management
section at the top lets you
choose the group members,
and is common to all control
group types. While the
bottom section contains the
controls and sections
specific to each type, which
are described later on in this
chapter.
Management section
The group management section of each control group screen has two main panels. The
left panel has five group-dependent lists of channels/mixes from which you can choose
group members. The right panel contains the current group members (the example
below shows a VCA group). Group members are moved between the two main panels
using the ADD and REMOVE buttons.
Typical management section of control group screen
Management
section
(common)
Group-
specific
section
4
5
1
2
3
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Programming the groups
In general, you can use either the control surface or GUI to create, manage and recall
the groups. However, you might find it easier to use the GUI, as all of the channels are
available simultaneously on the screen.
>> To program a VCA/POP group at the control surface
For details, see “Using VCA/POP groups” on page 104.
>> To program a mute group at the control surface
1 In the auto mute groups section (master bay), press and hold the SELECT
button of your chosen auto-mute group.
2 Do one of the following:
• To add inputs to the group, press the LCD select button of each input channel
you want in the group. If necessary, navigate the desired input channels to
the control surface.
• To add outputs to the group, press the quick access button (bottom of each
output fast strip) of each output you want in the group. If necessary, navigate
the desired output channels to the control surface.
>> To program a VCA/POP, auto-mute or talk group at the GUI
1 At the GUI, open the screen of the desired control group type. For example, for a
VCA group open the VCA Groups screen.
2 Click the group. For example, VCA1.
3 Click the channels that you want to add to the group.
4 Click ADD. The channels will be moved to the group member panel.
If you want to remove any members from the group, click the channels that you want
to remove from the group (group member panel). Then, click REMOVE. The channels
are moved back to their respective lists.
Item Control Function
1 Group member
selection lists
These group type-dependent lists let you choose
which inputs, returns, auxes, matrices and masters
you want as members in the selected group. If
necessary, use the slider on the right of a panel to
access all non-members.
2 Name field Name of selected group.
3 Group member
panel
List of the current members of the selected group.
4 ADD button Moves the non-members (selected in the group
member selection lists) to the group member panel,
adding them to the group.
5 REMOVE button Moves the members (selected in the group member
panel) back to their respective group member
selection lists, removing them from the group.
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Configuring the groups
homeControl GroupsGroup Sheet
The Group Sheet screen lets you change the name and background colour of each
group as they appear on the GUI screen and LCD select switch (see “Configuring the
inputs and outputs” on page 118). Additionally, you can change the colour of all the
current members of the group to match the group colour by clicking the fill button .
Typical Group Sheet screen
>> To open the Group Sheet screen
At the GUI, choose home
Control GroupsGroup Sheet.
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Chapter 18: Copy And Paste
The PRO Series has a number of copy and paste features to make it easy to copy useful
settings to other areas. You can copy and paste the following:
• Processing areas across channels — see “Using copy and paste” on page 118.
• Parameters through scenes — see “To copy and paste sections to a scene(s)” on
page 117.
• Scenes — see “To create a new scene using the current settings” on page 115.
• Shows — see “To save a show or create a new one from the current settings” on
page 113.
• Events — see “To copy and paste an event” on page 116.
• Presets — see “To create a new preset library from the current one” on page 237.
Channels versus scenes
The fundamental difference between copying through channels and copying through
scenes is that the former is location-based, while the latter can be thought of as being
time-based. However, the areas (and parameters) that are copied across are similar
(see Appendix N "Parameters Affected By Copy And Paste" on page 511).
You can choose which control areas are copied and pasted across scenes via the
Show Editor screen (see “Show editor” on page 117).
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Chapter 19: Assignable Controls
(I Zone)
This chapter describes the assignable controls (I zone) of the master bay and shows
you how to use them to operate the internal effects and GEQs of the PRO Series, and
also any of its control knob functions on the control surface.
About the I zone
The assignable controls section on the control surface — or “I zone” — has full GUI
support (master bay GUI screen only) and operates in one of two ways:
• Controlling any rotary on the control surface You can assign any of the control
knobs (rotaries) on the control surface — and also any belonging to the internal
effects — to any control knob in the I zone.
• Operating an internal rack unit of the PRO Series You can adjust the critical
controls of an internal effect or GEQ rack unit via the I zone.
Although you can switch back and forth easily between the two methods, the I zone
gives precedence to the rack unit assignments.
Figure 22: I zone controls on the control surface
Controlling a rotary control
This is an important function of the I zone, which lets you control any of the control
knob functions on the control surface, such as gain trim (input fast strips),
compressor/gate threshold (channel strip) and level (output fast strips), and even the
internal effects. This means you can have quick access to the controls that are
currently the most useful to you.
Additionally, you can assign the tap function of the Delay effect to an LCD button in the
I zone, which lets you set a delay time manually. For details, see “To manually set the
tap time of an effect” on page 189.
Navigation
controls for
internal devices
User-assignable
controls
I zone quick
access button
Single set of I zone
controls
Assign/unassign
button
Control
knob
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About the Assignable Controls window
The Assignable Controls window lets you choose which controls you can operate from
the I zone. It shows the current assignment and status of each assigned control.
The following are some useful points to know about controlling a rotary control and the
Assignable Controls window:
• You can assign any of the internal effects’ rotaries to the Assignable Controls
window.
• You can’t use the Assignable Controls window with the GEQs.
• You can assign a control to the I zone via the control surface or the GUI.
>> To open the Assignable Controls window
1 Make sure that the master bay GUI screen is not displaying an internal device
(effect or GEQ). If necessary, select another screen via the GUI menu or by
pressing a screen access button in the primary navigation zone.
Item Element Function
1 Name field Channel name, with background colour to match the
default/user-defined channel colour.
2 Control knobs User-assigned controls.
3 Button Assign/unassign button.
4 Control selection
lists
These offer you all the available options from which to
choose your rotary control assignment.
5 Option list Available control options for the selected
channel/effect.
6 Option list Available channels/effects for the selected channel
type/effect.
7 Option list Available channel types/effect. The options are:
Unassigned; Inputs; Aux Sends; Matrix; Aux
Returns; Masters; and Effects.
1
2
3
4
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2 Press the I zone quick access button
(see “I zone controls on the control
surface” on page 187). The
Assignable Controls window will
open at the master bay GUI screen;
in the example shown right no
controls have been assigned.
>> To assign a control to the I zone
Open the Assignable Controls window and do one of the following:
•In the assignable controls section (I zone) on the control surface, press and hold
down an I zone assign/unassign button. Operate the desired control; if necessary,
navigate its channel to the control surface first.
• At the master bay GUI screen, open the
Assignable Controls window and
select the control you want to assign
from the three panels at the bottom of
the window (see “About the Assignable
Controls window” on page 188). For
example, choose the compressor ratio
control of input channel 34. Then click
one of the overlying assign/unassign
buttons (as shown right).
• An alternative method is to press and hold down an I zone assign/unassign button in
the assignable controls of the control surface. Then, on the GUI (maser bay screen),
click the desired control.
>> To unassign a control in the I zone
1 In the Assignable Controls window on the GUI, click Unassigned in the far left
panel (bottom of window).
2 Click the desired I zone assign/unassign button.
>> To manually set the tap time of an effect
1 Assign the desired effect’s delay time parameter to an I zone control. (Choose
Effects in the left panel and then the desired channel and delay time parameter
from the other panels.)
2 Tap the assign/unassign button of the I zone control (just as you would the Tap
button of the effect) to achieve the desired tap time.
The PRO Series measures the interval between taps.
It uses the most recent taps to calculate the average
tap time, which is constantly updated according to
each subsequent tap. This value is displayed on the
effect’s front panel in the appropriate Range field
and is also indicated by the control knob immediately
left.
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Using the I zone to control an internal effect/GEQ
As the internal effects and GEQs of the PRO Series are primarily GUI-only features,
control surface support is provided by the I zone, which lets you operate their
parameters using physical controls.
With an internal rack unit selected at the master bay GUI, a set of its parameter
controls will be automatically assigned to the I zone. Each individual set of I zone
controls will have its own single control assignment. To encompass all of a rack unit’s
parameter controls they are bundled into sets — known as ‘pages’ for effects and
‘groups’ for GEQs — which are navigated using the I zone’s arrow buttons.
About the assignable controls panel on the GUI
The assignable controls panel is displayed at the bottom of the effect/GEQ window
(output bay GUI only). It gives a pictorial representation of the I zone and displays
additional information, such as button and control knob assignments, current ‘page’
number etc. This panel also provides an alternative method of operating the I zone
controls.
The following diagram explains the elements of the assignable controls panel. It
uses the one for the effects as a example, but this also applies to the GEQs.
Item Description
1 Effects only: Shows which ‘page’ of parameters is currently selected to the
I zone, in the format: [page number]/[total number of pages]. For
example, the diagram above is displaying page 1 of 3 pages.
2 Single set of I zone controls (button and control knob).
3 Assign/unassign button.
Assignable
controls
panel
2
34
81 76
5
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>> To operate the assignable controls panel at the master bay GUI
You can use the GUI to operate the effect/GEQ assigned to the I zone by doing any of
the following:
Rack and unit control navigation
The assignable controls panel on the control surface has four navigational buttons
that let you select a rack unit on the GUI and choose which of its page/group of controls
are assigned to the I zone.
Table 13: I zone navigation button functions
4 Effects only: Description of the effect’s button currently assigned to the
button.
GEQ only: Will show either the text “zoom n” (where n is number from 1 to
8) or “overview” to indicate which display you are in, that is, overview or
zoom, respectively.
5 Navigation buttons, which replicate the arrow buttons in the I zone (see
Table 13 below).
6 Parameter description of the assignment of the overlying control knob.
7 Control knob. Includes gradations and dimensions applicable to the
assigned parameter.
8 When an I zone control is unassigned, it is displayed as a ‘ghost’ image.
(This also applies to the buttons.)
To
Do this in the assignable controls
panel
Select a different effect/GEQ Click the up/down arrow buttons
Change the I zone control assignments Click the left/right arrow buttons to
navigate to a different page (effects) or
zoom display (GEQs)
Operate a button on the front panel of an
effect/GEQ
Click the desired LCD button
Operate a control knob on the front
panel of an effect/GEQ
Use drag on the desired control knob
Control
button
Does this when controlling
the effects
Does this when controlling
the GEQs
Left arrow Scrolls through the ‘pages’ of
the selected internal effect in
descending order. This has no
effect if you are already at the
first page or there is no effect
selected.
In zoom view, scrolls through
the zoom displays. This has no
effect if you are already at
‘zoom 1’ display.
This has no effect in overview
display.
Up arrow Scrolls up the effects rack,
changing unit selection
accordingly. Stops at the top
rack position.
Scrolls up the GEQ rack,
changing unit selection
accordingly. Stops at the top
rack position.
Item Description
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Don’t forget that you can also operate the selected effect or
GEQ in their respective rack unit view. For example, the
Effects screen (shown right).
>> To assign an internal effect/GEQ to the I zone
1 At the output bay GUI screen, do one of the following:
• To control one of the internal effects (for example, a phaser) using the I zone,
open the Effects screen.
• To control one of the GEQs using the I zone, open the Graphic EQs screen.
2 Select the desired rack unit by doing one of the following:
• In the I zone, use the up and down arrow buttons of the Shift function to
navigate to the desired rack unit. Select the unit by pressing SHIFT + open.
• At the output bay GUI, click the desired rack unit.
The window of the rack unit will open, containing the assignable controls panel
at the bottom. A page/group of parameters will be automatically assigned to the
assignable controls panel and the I zone.
You can now control the rack unit using the I zone.
Down arrow Scrolls down the effects rack,
changing unit selection
accordingly. Stops at the
bottom rack position.
Scrolls down the GEQ rack,
changing unit selection
accordingly. Stops at the
bottom rack position.
Right arrow Scrolls through the ‘pages’ of
the selected internal effect in
ascending order. This has no
effect if you are already at the
last page or there is no effect
selected.
In zoom view, scrolls through
the zoom displays. This has no
effect if you are already at
‘zoom 8’ display.
This has no effect in overview
display.
Control
button
Does this when controlling
the effects
Does this when controlling
the GEQs
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>> To change the I zone control assignments
Click the left/right arrow button.
In view 2/4 of the 3-band compressor effect the I zone is assigned to the Mid section.
Clicking the right arrow takes you to view 3/4, and the I zone is now assigned to the
Hi section. If you clicked the left arrow instead, this would take you in the opposite
direction to view 1/4, and the I zone would be assigned to the Lo section.
>> To change to another device in the rack
Click the up/down arrow button. This will open the next device (effect/GEQ) in the
device window. If there is no device assigned to the newly opened rack position, the
device window will be empty.
Controlling an internal effect via the I zone
When controlling an effect, the GUI shows the current button and control knob I zone
assignments.
>> To operate a button of an effect
1 Make sure that the effect’s button you want to operate is assigned to the I zone.
If necessary, navigate the effects page containing the desired button to the
I zone. (The text at the top of the LCD button indicates its assignment.)
2 Press the desired I zone button.
>> To operate a control knob of an effect
1 Make sure that the effect’s control knob you want to operate is assigned to the
I zone. If necessary, navigate the effects page containing the desired button to
the I zone.
2 Adjust the desired control knob.
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Controlling a GEQ via the I zone
You can use the I zone to adjust the faders and controls, such as the high/low pass
filters, notch filters, slope etc., of an internal GEQ. For information on opening the
Graphic EQs screen and selecting a GEQ, see Chapter 15, “Graphic Equaliser (GEQ)”.
Similarly to the internal effects, there is an assignable controls panel on the GUI (see
“About the Assignable Controls window” on page 188). However, to accommodate the
faders there are, effectively, two levels of display, known as “overview” and “zoom”.
The overview display appears initially when you open the window of the GEQ, and lets
you adjust a group of GEQ faders simultaneously. Each LCD button in the I zone is
assigned to a group of faders. For identification, the groups are numbered, as shown in
the following diagram.
Figure 23: Fader group control knob assignments in the overview display
Fader group
ID numbers
(encircled)
Overview
display
I zone
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The zoom display comprises a number of screens, which are accessed via the LCD
buttons of the overview display. The following diagram shows all of the available zoom
displays and includes a typical example of what the assignable controls (control surface
and GUI) will look like just after a GEQ has been selected.
Figure 24: I zone LCD button assignments in the overview display
Overview
display
I zone
Zoom
displays
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>> To switch between the overview and zoom displays
Do one of the following:
• To open the overview display from one of the zoom displays, press any of the LCD
buttons in the I zone.
• To open a zoom display from the overview display, press the desired LCD button in
the I zone.
>> To navigate the zoom displays
If you are at a zoom display and you want to go to another one (for example, to adjust
a fader or front panel control) use the left and right arrow buttons in the assignable
controls panel (see “Rack and unit control navigation” on page 191). For diagrams of
the available zoom displays, see Figure 24 “I zone LCD button assignments in the
overview display” on page 195.
>> To adjust a group of faders simultaneously in the overview display
Make sure the overview display is shown on the GUI and adjust the appropriate control
knob in the I zone. The group of faders will adjust in equal amounts from their relative
positions. However, continual adjustment will eventually take all of the group’s faders
to the maximum/minimum extent.
>> To adjust a single fader in a zoom display
If necessary, navigate the desired zoom display (containing the fader you want to
change) to the GEQ window. In the I zone, adjust the desired control knob.
Note: You can also adjust a single fader in the overview display using drag, or in the
rack view (with the GEQ window closed).
>> To operate a button or control knob of a GEQ
For details, see “To operate a button of an effect” on page 193 and “To operate a control
knob of an effect” on page 193.
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Chapter 20: Scenes And Shows
(Automation)
This chapter shows you how to use scenes and shows, which are part of the PRO
Series’s automation.
About automation
Automation is predominantly a GUI-only function that allows complex editing of scenes
and the creation of show files via the GUI menu. The control surface provides limited
control via the automation section, which facilitates fast store/recall operation during
show time and rehearsals.
The automation system of the PRO Series can store and recall up to 1000 scenes, each
one being a snapshot of the control centre’s settings at the instant the scene was
created. By recalling scenes, users can — with certain exceptions — restore the control
centre to the state that existed at that time the scenes were stored. This makes it ideal
for multi-act tours by providing quick and accurate access of settings for the band with
a minimum of sound check time, as well as for theatre productions, where each act
requires reconfiguration of audio I/O.
All of the scenes for a show are contained within a show file. Show files are stored in
the PRO Series, so that they can be loaded when required, and they can also be
transferred to/from external USB storage devices.
Events provide an additional scene control by which you can use the MIDI, GPIO and
‘internal’ functions to trigger events on internal and external devices from within the
show file.
For theatre applications, channel settings can be recalled (across all scenes) from the
user library (see Chapter 24 "User Libraries (Presets)" on page 235) so that one generic
show can cope with different performers on a night-by-night bases, which is common in
theatres.
You can copy certain parameters through scenes by using the Show Editor screen.
For more information on the Show Editor screen and for details on how to use it for
copying and pasting throughout scenes, see “Show editor” on page 117. For details of
the parameters that can be copied through the scenes, see Appendix P "Parameters
Copied Through Scenes" on page 581.
Throughout this chapter, wherever scenes are mentioned this also applies to point
scenes, unless otherwise stated.
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Automation controls
Although automation is supported on the master bay control surface by the
automation section, it also requires large amounts of screen support. The GUI
provides this in the form of an Automation screen that gives full scene and show file
support, and also scope and event features. Additionally, the GUI has a Files screen
for show file management and transfer.
The following diagram explains the automation section of the control surface and shows
the location of their equivalents on the GUI’s Automation screen.
Automation controls on the control surface and GUI
Item Control Function
1 Red cancel button Cancels a store operation and closes the Store
window (illuminates to prompt when this button is
active).
2 Yellow now/
[NOW] button
Recalls the currently highlighted scene in the cue list,
clearing any unsaved adjustments.
3 Green next/
[NEXT] LCD
button
Changes scene selection to the next scene/point
scene (highlighted in green) in the cue list. For
details of the button’s display information, see “next
LCD button” on page 199. (The GUI’s NEXT button
does not display any information.)
4 Jog wheel Quickly dials the scene numbers beyond the
capability of the ‘last’ and ‘next’ buttons by scrolling
the ‘now’ scene through the cue list one scene/point
scene at a time.
5 Red last/[LAST]
button
Changes scene selection to the previous scene
(highlighted in red) in the cue list.
1
7
2
3
4
7
6
5
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next LCD button
The next LCD button in the
automation section has two
modes of operation—as a ‘next’
button and, when using the
jogwheel, as a ‘now’ button. As
a ‘next’ button it will display
“NEXT” when there is another
scene in the cue list — of higher
value — that you can move to.
When “End” is displayed the
current scene is the last in the
cue list. However, when using
the jog wheel the next button’s
display changes to provide
scene/point scene information
(as shown right).
Automation screen
The Automation screen can be broadly divided into the following main areas
(domains):
• Scenes — see “Scenes” on page 201.
• Shows — see “Show files” on page 209.
• Scope — see Chapter 21 "Scope (Automation)" on page 213.
• Events — see Chapter 22 "Events (Automation)" on page 221.
For details on how to open the Automation screen, see “To open the Automation
screen” on page 112.
6 Green ok button Confirms an action (illuminates to prompt when this
is necessary).
7 Yellow store/
[STORE SCENE]
button
Opens the Store Scene window (see “To create a
new scene using the current settings” on page 115)
and lets you store the current settings to the
currently selected scene.
Item Control Function
26.19
Scene 2
6
Scene/point
scene number
Scene name.
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Using the right-click menu
You can access some of the functions of the
function buttons and also additional ones by
right-clicking the desired scene/point scene. This
opens a menu (shown right) that has the following
options:
• Edit: Opens the Edit Scene Properties
window.
• Add: Opens a submenu with the following
options:
• Overwrite Scene: Overstores the scene
with any changes made. For example, if
you are working on scene 2, and you have
made changes to it, right-click on scene 3
and then select Add > Overwrite Scene,
and scene 3 will be overstored with the
changes made to scene 2.
• Insert Scene: Inserts the scene you have
just copied immediately before this one.
• Midi Event: Creates a MIDI event in the scene.
• Internal Event: Creates an internal event in the scene.
• GPIO Event: Creates a GPIO event in the scene.
• Crossfade Event: Creates a crossfade event in the scene.
• Delete: Deletes the selected scene (see “Copying and deleting scenes” on
page 206).
• Copy: Copies the selected scene (see “Copying and deleting scenes” on page 206).
• Paste: Pastes the scene you have just copied.
• Expand: Expands the scene/point scene (see “To expand a scene/point scene” on
page 204.
• Un-Expand: Closes the point scenes of the scene/point scene (see “To expand a
scene/point scene” on page 204).
• Multi-Edit: Opens a submenu with the following options:
• Set List: Opens the Set List window.
• Show Editor: Opens the Show Editor window.
• Invert Selection: Any scenes that have been ‘checked’ (that is, their check box in
the Edit column contains an “X”) become unchecked, and vice versa.
• Clear Selection: Unchecks any scenes that have been checked.
• Exit: Closes the right-click menu.
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Scenes
The scene management areas of the Automation screen are is intended for fast
operation during show time and rehearsals. They let you edit, copy, delete, store and
recall scenes, and can be broadly subdivided into the following areas.
Scene-related elements of the Automation screen
For details of how to navigate the scenes with the jogwheel, recall a scene and create a
new scene from the currently selected one, see “Managing the scenes” on page 114.
Item Element Description
1 Scene panel Contains scene number, title and notes pertaining to
the ‘next’ scene.
2 STORE SCENE
button
See “Automation controls” on page 198.
3 Scene cue list See “Scene cue list” on page 203.
4 REORDER
SCENES button
See “Changing the order of the scenes” on page 207.
5 Zoom List spin
buttons
See “Using zoom” on page 208.
6 UNEXPAND
button
See “To close the point scenes of a scene/point scene”
on page 204.
7 EXPAND button See “To expand a scene/point scene” on page 204.
8 DELETE, PASTE
and COPY buttons
See “Copying and deleting scenes” on page 206.
9 EDIT button See “Editing scene properties” on page 205.
10 Scene panel Contains scene number, title and notes pertaining to
the ‘now’ scene.
11 Show information
panel
See “Date and time” on page 203 and “Automation
controls” on page 198.
5
1
3
4
11
67
9
8
10
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Scene contents
A scene contains all of the control centre settings that existed at the point of creation,
except:
• Anything that is explicitly taken out of recall (or store) using the automation scope
controls.
• All solo, monitor and comms section controls.
• All surface selection or navigational control settings.
Additionally, each scene can contain:
• Scene information, including name and notes.
• Event (MIDI/GPIO/internal).
Point scenes
For every scene there are 10 point scenes available, and each point scene has another
10 point scenes. Point scenes are the same as scenes. They allow each scene to be
divided into smaller sections.
Numbering and navigation
As scenes need to be recalled in sequence, each scene requires a sequential number.
So, although there is a maximum of 1000 scenes, the range of scene numbers is much
greater to allow for gaps to be left for adding scenes without having to renumber the
subsequent scenes — a major requirement in scripted shows. To facilitate this, each
scene has an associated four-digit, two-decimal place scene number, giving a possible
99 point scenes per main scene. The scene number locates the scene in the sequence
of stored scenes and is the basis of scene navigation.
To navigate the scenes, the jogwheel on the control surface goes beyond the scope of
the one-step automation buttons (last, now and next) by allowing you to scroll quickly
from one scene to the next. Identification of current scene position is shown by the
yellow background strip. The next and previous scenes are similarly highlighted, but by
green and red, respectively.
Global scene
The GLOBAL scene, which is always at the beginning of the scene cue list, lets you
create events that will be included in every scene. Global events are created just as
you would for any other scene. Events of a similar type in other scenes will override the
global ones.
Initial snapshot scene (scene 0)
All scene numbers are available for storing scenes except scene 0, which is called the
“safe” scene. This scene is the control centre’s initial snapshot scene, and is created by
the control centre and cannot be overwritten by the user. It is the only snapshot
existing when the show is stopped or when the user subsequently clears the control
centre down.
When recalled, it sets the control centre — regardless of scope settings — to a safe
state in which it is not passing any audio. The settings include:
• All mutes off.
• Gains are set to 0dB.
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• All levels are at minus infinity (-4) dB.
• All faders are at minus infinity (-
4) dB — except VCA faders, which remain at 0dB.
Date and time
The current date and time, and the
duration of the current scene are
displayed towards the top of the
Automation screen.
Scene cue list
The scene cue list provides you with an overview of the show. It tells you at a glance
where you are in the performance and provides scene information, such as scene
number and title. Other features let you alter settings, ‘skip’ scenes, edit scene
properties and choose what to leave out of the cue list.
Elements of the scene cue list
Item Element Description
1 No. column Number column shows the scene number and point
scene number.
2 Skip column
Skip column. When you see a skip arrow in this
column it means that this scene will be missed out
during a rehearsal. For example, during rehearsal you
may need skip scene 3 by going straight from scene 2 to
scene 4 (auto status). Also, indicates scene selection
when it contains an event (yellow circle).
3 Type column Shows the type of events and whether they are incoming
or outgoing.
4 Time column Displays the time before an event is triggered. A blue
countdown time bar shows the time remaining.
5 Name column Title of scene/point scene or name of event.
6 Notes column Scene notes.
Today’s date
Duration of
current scene
Current time
8
10
11
7654321
9
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>> To select a scene/point scene
The ‘now’ scene is the currently selected scene (highlighted in yellow).
Do one of the following:
• At the GUI, click the scene/point scene in the Automation screen.
• At the GUI, click the LAST/NOW/NEXT button in the Automation screen as
necessary.
•In the automation section (control surface), press the last/now/next buttons as
necessary.
•In the automation section (control surface), operate the jogwheel to go to the
desired scene/point scene. Then press now.
When recalling a scene, you can avoid replacing the current settings by using
scope masks, see Chapter 21 "Scope (Automation)" on page 213.
>> To expand a scene/point scene
Select the scene/point scene and do one of the following:
• Click EXPAND.
• Right-click the scene to open the right-click menu. Then, choose Expand.
>> To close the point scenes of a scene/point scene
Select the scene/point scene and do one of the following:
• Click UNEXPAND.
• Right-click the scene to open the right-click menu. Then, choose Un-Expand.
7 Edit column Contains a tick box per scene/event, which is used for
selection purposes when reordering scenes, see
“Changing the order of the scenes” on page 207.
8
Eye symbol
Opens the Show window (see “Configuring the scene
cue list view” on page 205).
9 GLOBAL scene See “Additional control — managing events” on
page 116.
10 safe scene See “Initial snapshot scene (scene 0)” on page 202.
11 Scroll bar Lets you scroll to the other scenes.
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Configuring the scene cue list view
You can exclude certain elements from the scene cue list (see
“Scene cue list” on page 203), such as events and empty scenes.
This is done via the Show window (shown right), which has the
following options:
• Empty scenes — excludes all empty scenes from the show.
• Global events — excludes all global events from the show.
• MIDI events — excludes all MIDI events from the show.
• GPI/O events — excludes all GPIO events from the show.
• Internal events — excludes all internal events from the show.
>> To configure the scene cue list view
1 Click the eye symbol (right of the cue list title bar) to open the Show window.
2 In the Show window, select the desired options.
3 Click OK.
Editing scene properties
You can change the name of a scene, add/edit its
notes (also editable in the Store window when
storing a scene) and choose to skip the scene during
a rehearsal. This is all done via the Edit Scene
Properties window (shown right).
The Scene Name and Notes sections are edited just
as you would any other text field.
>> To open the Edit Scene Properties window
Do one of the following:
• Select the scene and then click EDIT.
• Right-click on the scene and then choose Edit
from the right-click menu.
>> To skip a scene during rehearsal
Open the Edit Scene Properties window of the desired scene, and then click the
Rehearsal Skip box to place a red cross inside it. After you close the window, a
skip arrow symbol will appear in the scene’s Skip column.
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Adding a new scene
You can add a new scene anywhere in the cue list. The new scene can be inserted in
the cue list or you can overwrite an existing scene by replacing it with the new one.
>> To insert a new scene
1 Right-click the scene before which you want to insert the new one.
2 From the right-click menu, choose Insert Scene.
>> To overwrite an existing scene with a new one
1 Right-click the scene you want to overwrite.
2 From the right-click menu, choose Overwrite Scene.
Note: If you are creating the first scene, use STORE SCENE (see “To create a new
scene using the current settings” on page 115).
Copying and deleting scenes
You can copy and delete single scenes/point scenes from the cue list.
>> To copy a scene
1 Do one of the following:
• Select the desired scene and click COPY.
• Right-click the desired scene and then choose Copy from the right-click menu.
2 In the cue list, select the scene/point scene before which you want to paste the
copied scene. Then, click PASTE.
>> To delete a scene
1 Do one of the following:
• Select the desired scene and then click DELETE.
• Right-click the desired scene and then choose Delete from the right-click
menu.
2 In the message window (shown right),
click OK.
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Changing the order of the scenes
You can change the order of the scenes in the cue list. This is done using the
REORDER SCENES button. You can reorder as many scenes as you want by selecting
them in the order you want them to appear in the reordered list.
>> To reorder the scenes
1 At the Automation screen, click REORDER SCENES. The grey double
arrowhead symbol will appear in each box in the Edit column.
2 In the cue list, click the box of the first scene you want to reorder
(as shown right). A “1” will appear in the Edit column, signifying
that it will be the first of the reordered scenes, and the scenes will
be reordered from this point on in the cue list.
3 Repeat for the next scene you want to reorder. This will be
labelled “2” in the Edit column.
4 Repeat for the remaining scenes/point scenes.
5 Click REORDER SCENES. The message
window (shown right) will open.
6 Click OK.
Overriding store scope
You can choose to ignore the parameters selected at the Store Scope screen, so that
these ‘safed’ parameters will be stored in the scene. This is selectable as a global
option (for all scenes) in the Preferences screen and also on a per scene basis in the
Store Scene window.
Note: This feature does not affect scene recall.
>> To override the safe parameters (selected in store scope) for a single
scene
Open the Store Scene window (see “To create a new scene using the current settings”
on page 115) and select the Overwrite Safe parameters? option.
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>> To override the safed parameters (selected in store scope) for every scene
At a GUI screen, choose home
PreferencesGeneral to open the Preferences
screen, and select the Overwrite Safed parameters option (see “Changing the user
interface preferences” on page 250) in the User Interfaces Preferences section.
Using patching in automation
Caution:
The Automate Patching option switches on per-scene automatic
routing, and must be used with caution. To alert you to the drastic
consequences of using this option, a WARNING window appears.
You can change the patching of certain sources and destinations on a per-scene basis.
For example, you have an input channel’s compressor side chain patched from one
source in one scene and from a different source in another scene.
For details of the parameters that can be patched per scene, see Appendix L
“Parameters Affected By Automate Patching”.
>> To use patching in automation
At a GUI screen, choose home
PreferencesGeneral to open the Preferences
screen, and then select the Automate Patching option in the Configuration
Preferences section.
Using zoom
You can enlarge the cue list to zoom in on certain scenes or make
the scenes in the cue list smaller so that you can view more scenes
simultaneously. This is done using the Zoom List spin buttons.
>> To enlarge the scene view (zoom in)
In the Automation screen, click the up (top) Zoom List
spin button. The diagram right shows a typical
Automation screen at maximum zoom.
>> To reduce the scene view (zoom out)
In the Automation screen, click the down (bottom)
Zoom List spin button. The diagram right shows a typical
Automation screen at minimum zoom.
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Show files
Show files are only handled via the GUI, using the Automation and Files screens of
the GUI menu.
Managing show files
The Automation screen lets you create new shows, load existing ones and update the
current show file with the latest settings.
For details of how to use the show function buttons to create a new show, save a show,
create a new show from the current settings and load a show, see “Managing the
shows” on page 112.
Show file-related elements of the Automation screen
Item Element Description
1 NEW button For creating a new show (see “To create a new show”
on page 112).
2 LOAD button For loading a stored show by restoring all stored
snapshots and associated automation data from the
selected show file (see “To load a show” on
page 113).
3 SAVE button For backing up all stored snapshots and associated
automation data to the selected/current show file
(see “To save a show or create a new one from the
current settings” on page 113). This button changes
to red when there are show settings to be saved. We
recommend that you save your show at regular
intervals.
4 SAVE AS button For creating a new show using the settings of the
current one (see “To save a show or create a new one
from the current settings” on page 113).
5 STORE SCENE
button
See “To create a new scene using the current
settings” on page 115.
1 2 3 4 5
7
6
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Managing show files on the Files screen
Show files can be transferred between the PRO Series and an external USB device, such
as a USB memory stick. This lets you backup and archive your show files, so none will
be lost, and also transfer them to other PRO Series systems. You can even create
templates for new shows, so that you don’t have to start from scratch, or modify
existing show files. All this is done via the Files screen; see Chapter 25 "File
Management" on page 239.
For details of how to back up/export your files and also how to import them from an
external source, see “Saving your show files to a USB memory stick” on page 123.
Rehearsals
Rehearsal mode lets you skip scenes/point scenes to match the arbitrary nature of the
performance sequence during rehearsals.
>> To select a scene to ‘skip’ and to ‘unskip’ a scene
See “Editing scene properties” on page 205.
>> To carry out a rehearsal
1 Click REHEARSAL.
2 Carry out the rehearsal as necessary. (Note how the scenes selected as ‘skipped’
are missed out during the show’s rehearsal, as you use the last, now and next
buttons.)
3 To end the rehearsal, click REHEARSAL.
6 Name field Title of currently loaded show.
7 SHOW EDITOR
button
See “Show editor” on page 117.
Item Element Description
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Safes
Important:
Safes are intended for emergency use only and are not to be confused with
scope (see Chapter 21 "Scope (Automation)" on page 213).
Safes are incorporated into the PRO Series to prevent certain controls from being
recalled with a scene. Safe activation and status are provided on both the control
surface and the GUI.
There are six types of channel safe: EQ, dynamic, mic/config., auto, mute and fader.
Although some types of safe are channel-specific, any channel can be made safe from
off-channel mute, fader and automation control. Also, solo (for monitor areas A and B)
is always out of scene on any channel.
Note: The MIC button on the outputs operates as a configuration safe, rather than a
mic safe.
All of the channel safe areas, except MIC safe, have local LEDs on the control surface to
show their in/out status, which are provided in each channel/group fast strip and in the
safes sections of the overview and processing area displays of the GUI channel strip.
VCA groups only have mute and fader safes, and these can only be only switched on/off
via the GUI; see “VCA and POP groups” on page 177. Mute safe status indication is
provided both on the control surface (VCA/POP group section of master bay) an in the
GUI channel strip.
For details of which parameters are protected by the safes, see
Appendix M "Parameters Protected By Safes" on page 469.
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Chapter 21: Scope (Automation)
This chapter shows you how to use the scope feature of the PRO Series automation to
include/exclude specific parameters on scene store/recall.
Although scope has two functions, recall and store, the emphasis in this chapter is on
recall scope, which will be the most commonly used of them both. Store scope will only
be required in certain circumstances, and even then it must only be used with caution
(see “Using store scope” on page 219).
About scope
Scope lets you define the extent of the automated controls for all channels, buses,
groups, assignable effects and GEQs. To do this it has a Recall Scope screen from
which you can select the controls that are excluded from the scene when it is recalled
and you can also view the current scope status.
About the Recall Scope screen
The Recall Scope screen has a number of type-specific areas, such as Input
channels, Aux Sends, Variable Control Associations and Graphic EQs, which
contain user-selectable parameter sections that you can make ‘out of scene’ on scene
recall.
Elements of the PRO Series Recall Scope screens
PRO3
PRO6
PRO9
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Item Element Description
1 SINGLE button Scope function button for selecting single parameter
sections on the scope screen.
2 BY CHANNEL
TYPE button
Scope function button for selecting the same
parameter section in all channels of a single type on
the scope screen.
3 INDV. CHANNEL
button
Scope function button for selecting all of the
parameter sections of a single channel on the scope
screen.
4 CONSOLE WIDE
button
Scope function button for selecting all of the
parameter sections of every channel on the scope
screen.
5 ALL button Scope function button that selects all of the
parameter sections on the scope screen, that is, for
every channel, assignable effect and internal GEQ.
6 NONE button Scope function button that deselects all selected
parameters sections on the scope screen.
7 STORE PRESET
button
See Chapter 24 "User Libraries (Presets)" on
page 235.
8 LOAD PRESET
button
See Chapter 24 "User Libraries (Presets)" on
page 235.
9 Key section Shows what each parameter section symbol
represents.
10 Rack units Area for the assignable effects and GEQs.
11 Output channels Area for the auxes, matrices and masters.
12 Input channels and
groups
Area for the inputs, returns and VCAs.
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The Recall Scope screen has a section for each of the following.
>> To open the Recall Scope screen
At either GUI screen, choose home
AutomationRecall Scope.
Selecting scope parameter sections
The scope function buttons provide a number of ways of selecting/deselecting scope
parameters, such as singly, by channel type, all on the control centre etc.
When a parameter is selected, its background changes from blue to green .
Selection is cumulative, so you can combine any of the selection/deselection functions
until all the desired parameter sections have been selected. When you have finished
the selection process, just go to the next screen you require; you don’t have to save
your selection, as it remains stored in the current condition until you alter it again.
The “Assignable Effects” panel lets you choose which effects are ‘out of scene’ on scene
recall.
For details of the parameters affected by scope, see Appendix K "Parameters Affected
By Scope" on page 421.
Description
Input Channels
Aux Returns
(returns)
Aux Sends
(auxes)
Matrix
(matrices)
Masters
Variable Control
Associations (VCA
and POP groups)
Assignable Effects
(internal effects)
and Graphic EQs
Symbol
Routing Yes Yes No No No No N/A
All YesYesYesYesYesYesN/A
Mic Amp Yes Yes No No No No N/A
EQ YesYesYesYesYesNo N/A
Dyn Yes No Yes Yes Yes No N/A
Busses YesYesYesNo YesNo N/A
Mute YesYesYesYesYesYesN/A
Fader YesYesYesYesYesYesN/A
Assignable
Effect/Graphic
EQ
N/A N/A N/A N/A N/A N/A Yes
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>> To select a single parameter section
1 Click SINGLE.
2 Click the desired parameter section.
In some cases more than one parameter section may be selected. This may occur if:
• The parameter section belongs to a channel that is stereo linked. The equivalent
parameter section of the other paired channel will also be selected.
• Other channels are patched to the same source as the channel in which you are
making your selection. This only applies to the All and Mic Amp parameter
sections.
>> To select a parameter section in all channels of a single type
1 Click BY CHANNEL TYPE.
2 Click the desired parameter
section in any channel of the
desired type. For example, click
the routing parameter section in
any of the input channels. The
routing parameter section on all
input channels will be selected (as
shown right).
>> To select all of the parameters of a single channel
1 Click INDV. CHANNEL.
2 Click any parameter section in the desired channel. For example,
click the All parameter of input channel 5; all the parameter sections
in channel 5 are selected (as shown right).
If the channel is stereo linked, all of the parameter sections in its paired
channel will also be selected.
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>> To select a single parameter section console wide
1 Click CONSOLE WIDE.
2 In any channel, click the desired
parameter section. For example,
clicking the fader parameter of
input channel 1 selects the fader
parameter of every channel.
>> To select every parameter section on the console
Click ALL. Every parameter section on
the Recall Scope screen is selected (as
shown right).
>> To deselect a parameter section(s)
Follow the procedures for selecting parameters, but only click ones that are already
selected.
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Selecting bus parameters
As a channel’s bus parameter section represents all of its available buses collectively,
you can only select either all or none of its buses using the scope function buttons.
However, by clicking the bus parameter section you can open its ‘bus select’ window,
which lets you select any buses you want out of scene. In this window each aux/matrix
bus is represented by an single icon, and only available buses are shown.
Typical ‘bus select’ window
The background colour of the bus parameter for each channel shows the selection
status of its respective buses. There are three states, as shown in the following table.
>> To select/deselect buses
In the ‘bus select’ window, do one of the following:
• To select/deselect a single bus, click on its icon.
• To select/deselect all buses, click All.
Bus selection status Symbol
None of the buses are selected
One or more, but not all, of the buses
are selected
All of the buses are selected
Type and number of
currently selected bus
All 32 buses
Currently selected bus
(green background)
Unselected bus
Click to select/deselect
all buses
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Saving scope parameters in a scene
Scope parameters have to be saved in a scene.
>> To save your selected parameters in a scene
1 Save the parameters you want into a scene (see “To create a new scene using the
current settings” on page 115).
2 Select the desired recall scope parameters (see “Selecting scope parameter
sections” on page 215).
3 Overwrite the scene by clicking the “Overwrite scene” option (see “To create a
new scene using the current settings” on page 115).
Using store scope
Caution!
Although store scope is sometimes useful in very specific
situations, it must always be used with care. This is because it is
possible that control settings will not be stored at all and will
consequently be lost. Therefore, it is much safer to use recall store
and aways store everything.
Please use store scope with great care and observe the Caution above. All of the
methods of the recall scope operation, as detailed in this chapter, apply equally to store
scope.
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Chapter 22: Events (Automation)
This chapter shows you how to use the events of PRO Series automation.
About events
There are four types of event — MIDI, GPIO, internal and crossfade — that you can
have in a scene, and you can have any combination of each. You can choose whether
the event is triggered on the PRO Series or on an external device.
For more information on the events and also how to create, edit and copy/paste an
event, see “Additional control — managing events” on page 116.
MIDI
MIDI performs two functions on the PRO Series. It allows the PRO Series Control
Centre to trigger external MIDI-equipped equipment on each scene change and it also
allows external MIDI equipment to trigger a PRO Series Control Centre scene change.
MIDI output from the PRO Series Control Centre can include a globally-enabled
outgoing message that contains the recalled scene number and is sent out for all
recalled scenes. Also, up to eight messages with user-selectable content are stored per
scene and sent out whenever the scene is recalled.
MIDI input can be globally set up to cause scenes to be recalled when specific incoming
MIDI messages are encountered.
GPIO
The general purpose input and output (GPIO) on the PRO Series is used to control or
respond to various devices. You can use GPIO inputs to control PRO Series parameters
from an external device, for example, you can use an external switch to switch the PRO
Series Control Centre’s talkback on/off or you can use an external switch or joystick to
control the PRO Series Control Centre’s parameters. You can also use the PRO Series
Control Centre’s keys and faders to send control signals to an external device.
Internal
You can create an event on the PRO Series without using an external device; this type
of event is called an “internal” event. This means that an event is triggered and carried
out entirely on the control centre.
Crossfades
For information on crossfades, see Chapter 23 "Crossfades (Automation)" on page 227.
Global scene
You can include an event(s) in every scene. (see “Global events” on page 233).
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Connecting up the MIDI/GPIO equipment
The PRO Series has a set of MIDI sockets on the rear panel for connecting MIDI
equipment (see “MIDI section” on page 268). There is also an equivalent set on the
rear panel of the I/O boxes.
GPIO connections for the PRO Series are via the rear panel of the DL351 Modular I/O
and DL451 Modular I/O. The PRO Series Control Centre doesn’t have any GPIO
connections.
About the Edit Event window
You can edit the parameters of an event in the Edit Event window and even change its
name.
Figure 25: Edit Event window
Item Element Function
1 Disable Event tick
box
For choosing whether the event is missed out
(skipped) during a rehearsal.
2 TEST EVENT
button
For executing the selected outgoing MIDI or GPIO
event using the current event parameters. (Outgoing
events only.)
3 When... section For selecting the parameters that trigger the event.
4 Time Offset
section
For setting the period of time that the event happens
after it has been triggered. Zero = no offset.
5 Then do this...
section
For choosing the type of event that you want.
1
10
4
5
6
7
9
8
3
2
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>> To open/close the Edit Event window
For details of how to open the Edit Event window, see “To edit an event” on page 116.
To close the window, click CLOSE.
Programming events
Each type of event is programmed in a similar way, regardless of whether it is an
incoming/outgoing MIDI or GPIO event, or an internal event. However, the options in
the Edit Event window may vary depending on the chosen event.
>> To program an event
1 Open the Edit Event window (see “To edit an event” on page 116).
2 In the Event Name section, type in the event name. If you want to skip this
event during a rehearsal, select the Disable Event option.
3 To select whether the event occurs on the PRO Series or an external device, click
Incoming or Outgoing, respectively. (This is not applicable to internal events.)
4 Select the desired parameters in the When..., Then do this... and Event
Parameters sections. To help you, refer to Table 14 “Outgoing event options” on
page 224, Table 15 “Incoming event options” on page 224 and Table 16
“Description of all event option parameters” on page 225.
5 If you want to incorporate a time delay between the event being triggered and
the event itself, select a time in the Time Offset section (click the up/down spin
buttons).
6 Click CLOSE.
6 Event
Parameters
section
See the “Programming events” on page 223.
7 CLOSE button Closes the Edit Event window.
8 Incoming/outgoing
selection section
Selects whether the event is triggered on the PRO
Series Control Centre itself or on an external device.
9 Text field Displays the user-configured event name. You can
edit the event name in this text field, which will then
be displayed in the Name column of the scene cue
list (see “Scene cue list” on page 203).
10 Enable Midi Byte 1
and 2 tick boxes
For selecting the parameters in the drop-down list to
the left of each tick box. These give you
more-specific parameters to choose from.
Item Element Function
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Table 14: Outgoing event options
Table 15: Incoming event options
When ... Then do this... Event Parameters (from top list downwards)
Scene Exit,
Scene Recall,
Scene Entry
And Recall,
Scene Entry
And Exit,
Scene Entry,
Exit And
Recall
Midi TX IO ID1 to
IO ID 17,
FOH MIDI
PORT
Channel 1
to
Channel
16
Program
Change,
Control
Change,
Pressure,
Aftertouch,
Note On,
Note Off
Program 1
to
Program
128
GPIO TX IO ID1 to
IO ID 17,
FOH MIDI
PORT
Static
Low,
Static
High
Closure 1 to
Closure 8
N/A
Last N/A N/A N/A N/A
Next N/A N/A N/A N/A
Now N/A N/A N/A N/A
Jump List of
scene titles
N/A N/A N/A
Notes Event Event Parameters section changes to a Notes window,
where you can enter event notes
When ... (from top list
downwards)
Then do
this...
Event Parameters (from top list
downwards)
Any IO
Box,
IO ID1 to
IO ID 17,
FOH MIDI
PORT
Any MIDI
Channel,
Channel 1
to
Channel
16
Note Off,
Note On,
After-
touch,
Pressure,
Control
Change,
Program
Change,
Pitch
Wheel
Midi TX IO ID1 to
IO ID 17,
FOH MIDI
PORT
Channel 1
to
Channel
16
Program
Change,
Control
Change,
Pressure,
After-
touch,
Note On,
Note Off
Program
1 to
Program
128
GPIO TX IO ID1 to
IO ID 17,
FOH MIDI
PORT
Static
Low,
Static
High
Closure 1
to
Closure 8
N/A
Last N/A N/A N/A N/A
Next N/A N/A N/A N/A
Now N/A N/A N/A N/A
Jump List of
scene
titles
N/A N/A N/A
Notes
Event
Event Parameters section changes to Notes
window, where you can enter event notes
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Table 16: Description of all event option parameters
Parameter Description
Aftertouch How hard a key is pressed after it has been touched, that
is, it changes the pressure after the note has been hit.
Typically, aftertouch is useful for adding tremolo or vibrato
effects to a sound, just as a violin can add volume or pitch
changes to a sustained note using finger vibrato or
additional bowing intensity.
Parameters for Aftertouch are notes A0 to C7, with each
having a possible pressure of between 0 and 127. You can
also choose between Enable MIDI Byte 1 and Enable
MIDI Byte 2.
Any IO Box The trigger can be on any IO port of any IO box.
Any MIDI Channel Any of the MIDI channels.
Channel n One of the 16 MIDI channels.
Closure n Provides a contact closure that can be programmed to open
or close in response to a MIDI event.
Control Change Select the control changes that can be applied to a note in
progress. For example, by altering the volume (not
velocity) or adding sustain to a note (holding it for longer).
Parameters are All Notes Off and Reset All. You can also
choose between Enable MIDI Byte 1 and Enable MIDI
Byte 2.
FOH MIDI PORT The trigger is via the MIDI port of the FOH PRO Series
Control Centre.
GPIO TX Selects a GPIO event.
IO IDn The trigger is via a specific IO port.
Jump Opens a specified scene on the PRO Series.
Last Opens the last (previous) scene on the PRO Series. This
scene is the one that would be opened if you pressed the
last button.
MIDI TX Selects a MIDI event.
Next Opens the next scene on the PRO Series. This scene is the
one that would be opened if you pressed the next button.
Now Opens the ‘now’ scene on the PRO Series. This scene is the
one that would be opened if you pressed the now button.
Note Off Informs the instrument to stop playing a note at a specified
pitch and velocity.
Parameters for Note Off are notes A0 to C7, with each
having a possible velocity of between 0 and 127. You can
also choose between Enable MIDI Byte 1 and Enable
MIDI Byte 2.
Note On Informs the instrument to start playing a note at a
specified pitch and velocity.
Parameters for Note On are notes A0 to C7, with each
having a possible velocity of between 0 and 127. You can
also choose between Enable MIDI Byte 1 and Enable
MIDI Byte 2.
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Notes Event Using this option, you can display notes that may useful at
a certain point in the scene.
Pitch Wheel Use the pitch wheel to trigger the event. The pitch wheel is
a wheel type device, normally found to the left of a
synthesizer keyboard, that manipulates the pitch of a
played note(s).
Pressure Pressure applied to the key that is being pressed. This
affects, for example, the vibrato of the note being played.
Parameters are between 0 and 127. You can also choose
between Enable MIDI Byte 1 and Enable MIDI Byte 2.
Program n One of the 128 programs.
Program Change Changes the device to a particular patch/voice/preset etc.
Parameters are 0 to 127. You can also choose between
Enable MIDI Byte 1 and Enable MIDI Byte 2.
Scene Entry Triggers the event when a scene is opened.
Scene Exit Triggers the event when a scene is closed.
Scene Recall Triggers the event when the ‘now’ scene is reloaded (but
not jogged to).
Scene Entry And Exit Triggers the event when a scene is opened or closed.
Scene Entry And
Recall
Triggers the event when a scene is opened or the ‘now’
scene is reloaded (but not jogged to).
Scene Entry, Exit
And Recall
Triggers the event when a scene is opened, closed or the
‘now’ scene is reloaded (but not jogged to).
Static High External device is closed/switched off.
Static Low External device is opened/switched on.
Parameter Description
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Chapter 23: Crossfades (Automation)
This chapter shows you how to use crossfades.
Crossfades are events that are triggered using the standard event mechanism, and are
managed via the Automation screen. A crossfade event is managed in a similar way
to any other event, such as GPIO and MIDI, and is detailed later on in this section.
A crossfade event is a trigger to change the value of a control — most often but not
always a fader — between two levels, that of the current control position and that of the
position in another scene, over time. If the level in the next scene is higher than the
current level, the crossfade uses the 'fade up' time; if it is lower, it uses the 'fade down'
time.
About the crossfade Edit Event window
You can edit the parameters of a crossfade event in the Edit Event window.
Crossfade Edit Event window (for details of the Edit Event window elements that are
common to each event type, see Figure 25 “Edit Event window” on page 222)
Item Element Description
1 Crossfade Group
Edit button
Opens the Crossfade Groups screen (see
“Crossfade groups” on page 231).
2 Crossfade set up
section
See “Crossfade set up section in the Edit Event
window” on page 229.
Parameter drop-down list
The Incoming and Outgoing options
are not used on crossfades
1
4
3
2
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About the crossfade parameters
The following diagram shows the PRO Series configured for 5.1 surround mode, which
utilises each available parameter option. The presence of the divergence, centre
level and LFE level sections are dependent on the currently selected surround mode.
3 Parameter drop-
down list
For choosing the level control that you want the
crossfade to operate on (see “About the crossfade
parameters” on page 228).
4 Crossfade Group
drop-down list
Contains all of the available user-configured
crossfade groups. Also includes the default example
group that contains all possible crossfade sources.
Item Control Parameter option
1 Fader Fader
2 pan control knob Pan
3 mono level/SIS
image/[fb pan]
control knob
image/front back
4 front control knob Front Div
5 back control knob Rear Div
6 front to back control
knob
F-R div
7 centre level control
knob
Centre
Item Element Description
input channel
overview in GUI
channel strip
2
1
Masters processing
area in GUI
channel strip
3
2
23
1
2
3
GUI input
fast strip
2
9
9
4
6
5
7
8
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Using a crossfade mute
The Mute option of the Parameters list lets you initiate a mute at the end of a
crossfade down operation. For example, if you set a crossfade of two seconds, the
mute will turn on after this time has expired (provided it was off). If the crossfade is a
‘crossfade up’, the mute will turn off during the crossfade up time (provided it was on).
Crossfade set up section in the Edit Event window
The crossfade set up section (bottom of the Edit Event window) is where you set up
how the crossfade operates. Here you can set up the duration of the crossfade and the
rate at which it occurs. You can configure two crossfade rates per crossfade or keep its
rate constant throughout.
Figure 26: Crossfade set up section
8 LFE level control
knob
Sub
9 MUTE switch Mute
Item Element Function
1 % of Travel
number field
Sets the initial travel distance of the control as a
percentage of the total distance of travel.
2 % of Time
number field
Sets the time for the initial travel of the control as a
percentage of the overall time.
3 Faders Down field Sets the time taken for the total travel (milliseconds)
of the control for a ‘fader down’ (or whichever control
is used) crossfade event. For the Faders Up field,
this sets the time taken for the total travel
(milliseconds) of the control for a ‘fader up’ crossfade
event.
4 Faders down
section
For setting the crossfade down parameters.
5 Faders up section For setting the crossfade up parameters.
6 Graph Up/down crossfade graph.
Item Control Parameter option
Time
Control up travel
Control down travel
1
2
3
456
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>> To quickly adjust the time and travel of the faders up/down
You can quickly adjust the % of Time and % of Travel parameters by dragging the
graph. Click anywhere on the line of the graph in the Edit Event window and drag to
where the parameters are as desired. Clicking while pressing the left button adjusts the
up travel, and doing the same with the right button adjusts the down travel.
>> To create a crossfade event
1 Open the Edit Event window.
2 If you want to disable this event, select the Disable Event option.
3 In the When... section, select the parameters that will trigger the event.
4 If you want to incorporate a time offset delay between the event being triggered
and the start of the event, set a time in the Time Offset section.
5 In the Then do this... drop-down list, select the X-Fade Event option.
6 Do one of the following:
• Select a crossfade group from the Crossfade Group drop-down list.
• Create a new crossfade group. Click the Crossfade Group Edit button to
open the Crossfade Groups screen and then follow the instructions in
“Crossfade groups” on page 231.
7 In the Parameters section, select the level control on which you want the
crossfade event to occur (see “Programming events” on page 223). For example,
a fader.
8 In the crossfade set up section (see Figure 26 “Crossfade set up section” on page
A-229), set up the crossfade parameters, such as time, % of travel etc.
9 Click CLOSE.
To set up a crossfade to have a constant rate across its full travel, set both the
%ofTime and % of Travel fields to 50%.
How a crossfade operates
When the crossfade event is triggered, the time offset (if configured) will start.
In the cue list, a blue status bar in a crossfade event will show the progress of a time
offset
After the time offset has finished, the crossfade will start; this will be either a down or
up crossfade, depending on the current control level. During the crossfade, the control
level will alter at the configured rate, shown on both the control surface and GUI.
Progress is shown in real time on the Automation screen.
Time offset
progress bar
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Typical crossfade graph in the Automation screen. The blue vertical bar will travel from
left to right according to the time elapsed and at the configured crossfade rate.
Note: The graph display shows the current longest crossfade in progress. So, if a
delayed crossfade starts during the current one, and it is longer than the current one,
the graph will change to show the new crossfade.
You can manually override the crossfade using the controls in the automation section of
the output bay (see “Manually controlling a crossfade” on page 234).
Crossfade groups
Crossfade groups let you choose which channels/buses/groups will contain the
crossfade. These groups are managed at the GUI’s Crossfade Groups screen.
Crossfade Groups screen
Item Description
1 Crossfade control group member source panel. Contains panels of
channels, buses and groups from where you select the sources for your
crossfade group.
2 Crossfade group management section, where you can create new crossfade
groups or delete existing ones, add/remove members to/from the currently
selected group, and select the desired group from the Control Group List.
3 Crossfade group member panel.
Blue vertical bar
1 23
10
11
7
4
5
8
9
6
12
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>> To open the Crossfade Groups screen
At the GUI menu’s Automation screen, click Crossfade Group Edit.
>> To create a new crossfade group
1 At the Crossfade Group screen, click
New.
2 In the Enter new control group name:
prompt window, type in your chosen name
for the new crossfade group.
3 Click OK. The new group will appear in the
Control Group List. By default, your new
group will contain “IN1Mic1” as a member,
as shown in the Control Group Member List.
>> To edit a crossfade group
1 In the Crossfade Group List panel, select the crossfade group you want to edit.
2 Do one of the following:
• To add members to the group, select the members from the lists of inputs,
auxes, returns, matrices, masters and groups at the left of the screen and
then click ADD. The selected items will be moved to the Control Group
Member List.
• To remove members from the group, select the members in the Control
Group Member List that you want to remove and then click REMOVE. The
selected items will be moved back to their respective panels in the left of the
Crossfade Group screen.
If you want, you can edit the “example group” crossfade control group.
4 ADD and REMOVE buttons. These buttons add or remove the currently
selected members to or from the Control Group Member List,
respectively.
5 New, Rename and Delete buttons. These buttons let you create, rename
or delete crossfade control groups, respectively.
6 Default crossfade control group. This group, called “example group”,
contains all of the channels, buses and groups as members.
7 Control Group Member List, which shows the current members of the
selected crossfade control group.
8 ALL and NONE buttons. These buttons select all or none of the members
in the Control Group Member List, respectively.
9 Control Group List, which shows the existing crossfade control groups.
10 A, I and N buttons. Each section in the crossfade source panel has a set of
these buttons, which select all members in the list, invert the current list
selection or deselect all members in the list, respectively.
11 A panel containing a list of channels, buses or groups available for
crossfade group membership.
12 Name of the currently selected crossfade control group, as indicated by the
background highlight.
Item Description
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>> To rename a crossfade group
1 In the Crossfade Group List panel, select
the crossfade group you want to rename.
2 In the Rename control group as: prompt
window, type in the new name for the
crossfade group.
3 Click OK. The new name will appear in the
Control Group List.
If you want, you can rename the “example group” crossfade control group.
>> To delete a crossfade group
In the Crossfade Group List panel, select the crossfade group you want to delete and
then click Delete.
You cannot delete the “example group” crossfade control group.
Global events
The GLOBAL scene, at the top of the cue list in
the Automation screen, lets you have the same
crossfade(s) in every scene. However, any
scene-based crossfade(s) will override the global
one(s) if both are present.
>> To set up a global crossfade
Select the GLOBAL CROSSFADE AND EVENTS scene and do one of the following:
• Click ADD CROSSFADE.
• From the right-click menu, choose Add
Crossfade Event. The crossfade will
appear in the GLOBAL CROSSFADE AND EVENTS scene.
GLOBAL scene (highlighted in yellow) in the Automation screen
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Manually controlling a crossfade
The controls in the automation section of
the output bay let you manually override
the crossfade, as described in the
following table.
Control Function during crossfade
cancel button Pauses the crossfade. Pressing the cancel button again, while the
crossfade is paused, cancels the crossfade.
Note: The level of the control on which the crossfade is operating
will remain at the point at which it was paused. If you restart the
crossfade the control will travel over the full crossfade period, that
is, if you stop (rather than pause) a five-second crossfade at two
seconds and restart it, it will take the control five seconds to move
to the final position, and not three seconds.
now button Pressing this button while the crossfade is paused (by pressing the
cancel button), continues the crossfade.
ok button Jumps to the end of the crossfade, effectively cancelling the
remaining time to the end of the crossfade.
Jogwheel Rotate the jogwheel to slow down/speed up the rate of crossfade.
The speed of rotation will determine the rate of crossfade.
Rotating the jogwheel quickly in a clockwise direction will speed up
the crossfade and rotating it an anti-clockwise direction slows it
down.
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Chapter 24: User Libraries (Presets)
User libraries is a GUI only feature that provides a method of handling presets. For
more information on presets, including details of how to save and load a preset, see
“User library (presets)” on page 119.
About the Preset Manager screen
Using the Preset Manager screen, you can create new user libraries, load existing
ones or save the current one. You can create a new user library from scratch or save
the current one under a new name. Similarly to show files, you can import libraries
from external storage devices (USB memory sticks).
The Preset Manager screen also lets you delete presets from the currently loaded
library.
Typical Preset Manager screen
Item Element Description
1 New button Lets you create a new preset library.
2 Load button Lets you load an existing preset library.
3 SAVE button Saves any unsaved changes that have been made
to the currently loaded preset library.
4 Save As button Lets you create a new preset library from the
current one.
5 Show name text field Displays the name of the currently loaded show
file.
12
12
3 4 5 6 7
10
9
11
8
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>> To open/close the Preset Manager screen
To open the Preset Manager screen, at the GUI choose homePreset Manager. To
close it, Click X at the upper-right corner of screen.
Managing user libraries
The background of the SAVE button in the Preset Manager screen changes to red
when changes have been made to the current user library, but they haven’t been
saved. We recommend that you save these changes regularly.
>> To create a new preset library
1 In the Preset Manager screen, click New.
2 In the “Enter new Library name:” message
window (shown right), do the following:
• Type in the name of the new preset library
in the text field containing the text
“Libraryname”.
• Type in your name in the text field
containing the text “Author”.
You can also replace an existing preset library. To do this, type in its exact name
in the “Libraryname” text field and then click the Overwrite existing? box to
tick it.
3 Click OK. A new Preset Manager screen will open.
Don’t forget that you can use the right-click Cut, Copy and Paste options when
editing the text fields.
6 library author text
field
Shows the name of the person who created the
preset library.
7 Close window button Closes the Preset Manager screen.
8 Column headings Preset information rows contain the following
information: preset type (Type); user-entered
name (Name); user-entered notes (Notes);
preset creator (Author); and time and date the
preset was created (Time).
9 Status bar Displays operation status information.
10 Import button Imports all presets from a preset library of your
choice into the one currently loaded.
11 Preset information
row
Contains preset details.
12 Delete button Deletes the currently selected preset.
Item Element Description
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>> To load a preset library
1 In the Preset Manager screen, click Load.
2 In the Load File window, click the preset library you want to load. Its name will
appear in the “Load this file:” text field.
3 Click OK.
>> To save changes to the currently selected preset library
At the Preset Manager screen, click SAVE.
If the SAVE button is red (shown right), there are
unsaved changes; this button changes back to blue
after the library has been saved (updated).
>> To create a new preset library from the current one
1 In the Preset Manager screen, click Save As.
2 In the Save File window, type your chosen name for the new preset library in the
“Save this file as:” text field.
You have the option to overwrite one of the existing preset libraries. Do this by
clicking it in the Save File window and then ticking the Overwrite existing?
option.
3 Click OK. The new preset library will be selected.
>> To import a preset library into the one currently selected
1 In the Preset Manager screen, click Import.
2 In the Load File window, click the preset library whose contents you want to
import.
3 Click OK.
If the currently selected preset library has unsaved changes, the window
message “The Preset Library has not been saved Do you wish to continue?” will
appear. To continue importing, click OK.
If you want, you can save the changes by clicking SAVE.
Deleting presets from a user library
In addition to storing and loading presets (see “User library (presets)” on page 119),
you can delete presets from a preset library.
>> To delete a preset from a user library
1 In the Preset Manager screen, click the preset you want to delete.
2 Click Delete.
3 In the “Are you sure you want to delete this preset?” message window, click OK.
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Chapter 25: File Management
This chapter shows you how to import/export your show and preset files.
About the Files screen
The Files screen manages files on the control centre (Control Surface panel) and any
removable storage device (Removable Storage panel) that is currently plugged into
one of the USB ports (see “Front panel connections” on page 265). Each panel lists the
files contained on its own storage media. The files can be imported/exported across the
panels, and can also be copied, renamed or deleted within their own panel.
Typical Files screen
Item Element Description
1 SAVE button Saves all currently loaded files. Turns red when
there are changes to be saved.
2 CLOSE button Unloads the currently loaded show/presets.
3 Control Surface
panel
Contains elements pertaining to the control
surface.
4 Show File text field Title of show currently loaded, if any.
5 Removable Storage
panel
Contains elements pertaining to the connected
removable storage device (USB memory stick); it
will be blank if no removable storage device is
connected.
6 Preset File text field Name of preset currently loaded, if any.
12 4
15
17
6
11
8
9
10
14
13
16
53 7
12
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>> To open the Files screen
To open the Files screen, do one of the following:
• At a GUI screen, choose home
Files.
• In the primary navigation zone, press the automation/filing screen access button
twice.
7 Memory usage bar The number on the right shows the total amount
of storage space, or memory, available on the
storage media of the control surface. The number
on the left shows how much memory has been
used, indicated by a green bar.
8 DELETE button Deletes the selected file in its respective panel.
9 RENAME button Lets you rename the selected file in its respective
panel.
10 COPY button Lets you copy the selected file into its respective
panel.
11 File information row Gives information on a single file, such as name,
size, date of creation and type.
12 Lists of loaded files Shows all the files on the PRO Series Control
Centre and the removable storage device.
13 IMPORT button Copies selected file(s) from the Removable
Storage panel to the Control Surface panel, that
is, from the removable storage media to the PRO
Series Control Centre.
14 EXPORT button Copies selected file(s) from the Control Surface
panel to the Removable Storage panel, that is,
from the PRO Series Control Centre to the
removable storage media.
15 Status bar Displays operation status information.
16 FILE SYNC button Opens the Master Controller File
Synchronisation window (see “About the Master
Controller File Synchronisation window” on
page 241). This button is normally blue, but turns
red when the master controllers are not
synchronised.
17 LOAD button Loads the selected file in the Control Surface
panel.
Item Element Description
About the Master Controller File Synchronisation window 241
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About the Master Controller File Synchronisation window
The Master Controller File Synchronisation window manages the synchronisation
between the two master controllers.
Master Controller File Synchronisation window
Item Element Description
1 master controller 1
status field
Shows whether this master controller is active or
on standby.
2 MAKE ACTIVE button Activates the respective master controller.
3 master controller 2
status field
Shows whether this master controller is active or
on standby.
4 status field Shows whether the master controllers are
synchronised (green text) or not (red text).
5 Lists of master
controller files
Lists the files loaded on each master controller
and indicates whether they are synchronised (blue
text) or not (red text).
6 COPY ALL TO MC1
button
Copies all files listed in the master controller 2
panel to master controller 1.
7 DELETE button Deletes the selected file in its respective panel.
8 COPY TO MC1 button Copies selected file in the master controller 2
panel to master controller 1.
9 CLOSE button Closes this window.
10 COPY ALL TO MC2
button
Copies all files listed in the master controller 1
panel to master controller 2.
11 COPY TO MC2 button Copies selected file in the master controller 1
panel to master controller 2.
1 2 3 4
5
6
7891011
2
7
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Chapter 26: Using Other Devices With
The PRO Series
This chapter explains how to use other external devices with the PRO Series.
Using multiple digital consoles
WARNING!
CHANGING THE SYNCHRONISATION CAN RESULT IN LOUD NOISES
FROM THE SYSTEM. ALWAYS MUTE THE PA AT THE
AMPLIFIER/SPEAKER BEFORE CHANGING THE SYNCHRONISATION
SOURCE OR MASTER/SLAVE STATUS.
You can use a PRO Series Live Audio System together with one or more digital consoles,
which can be other Midas digital consoles or indeed any digital console. For example,
you can use two PRO Series Control Centres together in a dual FOH and MON system.
To do this the digital consoles must be synchronised.
The synchronisation method can be via AES50, AES3 or wordclock. If you are
connecting the digital consoles via DL431 Mic Splitters, you can synchronise using the
splitters themselves via their AES50 connections.
Synchronising the consoles
Before you start, choose which Midas digital console you want as master.
For information on external AES50 synchronisation between two Midas digital consoles,
see “External AES50 synchronisation” on page 124.
>> To configure system synchronisation at the consoles
1 Mute the PA at the amplifier/speaker. Refer to the WARNING at the beginning
of this section.
2 On the master Midas digital console, configure it
by choosing home
PreferencesGeneral at
the GUI and then clicking the “Master” option
under the Master/Slave Status heading (shown
right).
3 Configure a slave Midas digital console by
choosing home
PreferencesGeneral at the
GUI and then selecting the following options:
•Under the Master/Slave Status heading,
click the “Slave” option.
•Open the Sync Source drop-down list and select the desired synchronisation
source you want, that is, “Word Clock” or “AES3”. If you want to sync using
AES50, choose one of the eight AES50 ports as necessary, for example,
“AES50
Port 2”.
Repeat for any other Midas digital consoles. Configure any non-Midas digital
consoles as appropriate.
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Sharing DL431 Mic Splitter A and B inputs
If you are using two Midas digital consoles with a DL431 Mic Splitter, you must
configure the consoles to use either the A or B inputs of the mic splitter. Although it
doesn’t matter which inputs each console uses, they can’t use the same ones. Also,
both consoles must be synchronised.
>> To configure two PRO Series Control Centres for use with DL431 Mic
Splitters
In a dual FOH and MON system it may be easier and more convenient to always set the
FOH control centre to master, and to use the mic splitter A inputs for FOH and the B
inputs for MON. Also, although the sync method doesn’t matter in this case, it is easier
to sync the two consoles using the DL431 Mic Splitter, as described below.
1 Mute the PA at the amplifier/speaker. Refer to the WARNING at the beginning
of this section.
2 Configure the AES50 Sync option of the DL431 Mic Splitter’s main menu to
Cable Sync A.
3 On the FOH control centre, configure it by choosing
home
PreferencesGeneral at the GUI and then selecting the following
options:
• Under the DL431 Mic Splitter Inputs
heading, click the “Use A Inputs” option
(shown right).
• Under the Master/Slave Status heading,
click the “Master” option.
4 On the MON control centre, configure the port for
the DL431 Mic Splitter (see “Device set-up
procedure” on page 93).
5 Configure the MON control centre by choosing homePreferencesGeneral
at the GUI and then selecting the following options:
• Under the DL431 Mic Splitter Inputs heading, click the “Use B Inputs”
option.
• Under the Master/Slave Status heading, click the “Slave” option.
•Open the Sync Source drop-down list and select the port that you configured
for the DL431 Mic Splitter in the previous step.
Using an external USB mouse
You can operate a GUI screen using an external USB mouse instead of its trackball (in
the primary navigation zone). To use the USB mouse, plug it into one of the USB
sockets (left of GUI screens, see “Saving your show files to a USB memory stick” on
page 123). The top USB socket is for the left GUI screen and bottom one is for the GUI
screen on the right. You can rest/operate the mouse in the primary navigation zone.
Using an external USB keyboard
You can use a USB keyboard with either GUI screen. Use one of the USB keyboard
sockets at the front of the PRO Series Control Centre (see “Front panel connections” on
page 265) as necessary.
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Using an external monitor
You can use an external monitor for viewing what is displayed on either GUI screen.
Use one of the VGA output sockets on the rear of the PRO Series Control Centre (see
“External monitor section” on page 272).
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Chapter 27: Changing The User
Settings
This chapter shows you how to change the user settings of the PRO Series to suit your
own preferences and the current working environment.
The user settings are changed via the GUI
menu, mainly from the Preferences screen
(shown right) and the ‘Sheet’ screens.
>> To open the Preferences screen
At a GUI screen, choose
home
PreferencesGeneral.
Setting the meter preferences
The Metering Preferences section of the Preferences
screen provides global parameter adjustment of all the
meters on the control centre.
• Peak/Hold Time control knob, sets the time (in seconds)
the peak LED stays on for, in the range 0 (no peak hold) to
infinity (peak always on). This only affects the meters on
the GUI. Click the enable tick box below to switch this on.
• Meter Attack control knob, adjusts the time it takes the
meters to rise, in the range 0 (no delay) to 10
milliseconds. Select the pre option to switch the output
channel meters to pre-fader.
• Meter Delay control knob, adjusts the meter delay time, in the range 0 to
0.5 seconds. For example, if the control centre is FOH, this function lets you
synchronise the meters with what you are hearing. This is because the sound from
the performers on the stage will take a certain amount of time to reach you, whereas
the meters pick up that sound at source. Click the enable tick box below to switch
on this function. You can adjust the meter delay by using the spin buttons
underneath, which display the delay time in milliseconds (ms) and distance in
metres (m).
• Meter Decay control knob, adjusts the time it takes the meters to fall, in the range
10 to 25 milliseconds.
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Configuring a virtual soundcheck
The Virtual Soundcheck option of the Preferences screen
lets you set the record and playback options for a virtual
soundcheck.
•In the Record section:
• All Dir. Out Pre-processing — switches all the direct
outputs to pre-processing.
• Unmute all Dir. Out — unmutes all direct outputs.
• Mute all Dir. Out — mutes all direct outputs.
• Set All Dir. Out Gains to 0dB — sets all direct output gains to 0dB.
•In the Playback section:
• Input Channel Source — lets you select the input channel source as Normal or
Tape Return.
• Enable all Tape Returns — enables all tape returns.
• Disable all Tape Returns — disables all tape returns.
Restoring the PRO Series defaults
Caution:
The Restore Default Preferences button will reset all console
preferences, and must be used with great caution. To alert you of
the drastic consequences of operating this button, a WARNING
window appears.
Caution:
The Restore Default Globals button resets all console defaults,
including patching and I/O set-up, and must be used with great
caution. To alert you to the drastic consequences of operating this
button, a WARNING window appears.
You can restore console defaults by using the options in the
Restore section of the Preferences screen. However, these
options must be used with care.
>> To reset console preferences to default
Open the Preferences screen and click Restore Default Preferences. Acknowledge
the warning window (see Cautions above).
>> To reset all console settings to default
Open the Preferences screen and click Restore Default Globals. Acknowledge the
warning window (see Cautions above).
Checking the PRO Series build information
This section, which is predominantly a service-only feature,
shows the current build and host software versions of the PRO
Series Live Audio Systems equipment.
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Setting the configuration preferences
WARNING!
CHANGING THE SYNCHRONISATION CAN RESULT IN LOUD NOISES
FROM THE SYSTEM. ALWAYS MUTE THE PA AT THE
AMPLIFIER/SPEAKER BEFORE CHANGING THE SYNCHRONISATION
SOURCE OR MASTER/SLAVE STATUS.
Caution:
The Automate Patching option switches on per-scene automatic
routing, and must be used with caution. To alert you to the drastic
consequences of using this option, a WARNING window appears.
The Configuration Preferences section of the Preferences
screen lets you configure the system as follows:
• Effects and GEQs — drop-down list from which you can
select the desired combination of effects and GEQs (see
Chapter 15 "Graphic Equaliser (GEQ)" on page 157).
• Automate Patching — ticking this option lets you change
audio patching in automation (see “Using patching in
automation” on page 208).
• DL431 Mic Splitter Inputs — if you are linking two PRO
Series Control Centres (for example, for FOH and MON
operation) this option lets you select the type of inputs (A or
B) you want for this PRO Series Control Centre. The other
PRO Series Control Centre must be set with the alternate
option. For example, if you select Use B Inputs at this
control centre, the other one will have to be set for Use A
Inputs.
• Master/Slave Status — selects the synchronisation source
of the PRO Series Control Centre’s digital audio, which can be either internal or
external. For configuration details when connecting two PRO Series Control
Centre’s, see “Using multiple digital consoles” on page 243.
If you choose Master (internal), all system units must be configured for external
sync source.
If you want an external sync source, choose Slave. Then, select the sync source
from the Sync Source drop-down list (below). On the sync source itself, for
example, a line I/O or mic splitter, configure its sync source as internal.
• Sync Source — drop-down list from which you can select the synchronisation
source.
• Stage Link X and Stage Link Y — select the snake type for each network. This
must be done before operating the PRO Series Control Centre, otherwise it
will not work.
• Surround Mode — select the type of surround mode you want. Otherwise, select
None for no surround mode.
• Fan Speed — select the speed of the internal cooling fan of the PRO Series Control
Centre as High (fast) or Low (slow). If you are operating the PRO Series in a warm
or hot environment, we recommend that you select the High option. If the noise of
the fan operation is causing a problem, select the Low option.
• Date and Time — click the SET button to set the date and time (see “Setting the
time and date” on page 252).
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Changing the user interface preferences
The User Interface Preferences section of the
Preferences screen lets you set some of the PRO Series
Control Centre’s operating parameters to suit your own
preferences.
• Display Rotary Values — the current value of a control
knob can be displayed as a numerical value on the GUI
(see “Parameter values displayed on touch” on page 54).
• Fast Zone Delay Control — selecting this option means
that you place the delay control for the inputs onto the
surface controls. To do this you have to cycle the gain
swap switch (see “Mic amp input gain (preliminary input
processing)” on page 286) through digital gain, analogue
gain and then delay. Without selecting this option, the inputs delay control is a GUI
only feature.
• Select follow Solo — when you solo an aux or matrix output, the channel is
automatically selected, thus bringing the output controls to the surface detail area.
This option only works in fader flip mode.
• Automate Paging — select this option to store channel paging in automation. So
that, on scene recall, the control surface (channels assigned to it) will revert to the
state it was in when the scene was last saved. When unselected, scene recall does
not affect channel paging.
• Overwrite Safed parameters — see “Overriding store scope” on page 207.
• Fader flip:
• Choose between Flip to faders and Flip to Pans to control the currently
selected mix bus using the faders or the pan control buttons, respectively, in the
full input bay (see “Controlling the mix buses in flip mode” on page 48).
• Sync Area B — when the PRO Series Control Centre is set up for two-man
operation (see “Two-man operation” on page 122) and you are using fader flip,
selecting this option will synchronise the mix bus selection across areas A and B,
so that both areas operate on the same mix buses.
• VCA Unfolding — select Overlay Stereo Pairs to unfold only left channels of
channel pairs when a VCA group is selected; use the scroll by 1 navigation buttons
to display any right channel you want.
• Names Lists — click the SET NAMES to open a window from which you can change
the names in the input and output sheet lists (see “Changing the default input/
output names” on page 251).
Changing the signal processing preferences
The Signal Processing Preferences section of the
Preferences screen lets you set up your DSP preferences.
• DSP Timeout — control knob for adjusting the amount of
time (between 10 and 600 seconds) the DSP engine will
continue to run after an update is received from the
control surface, before muting the audio.
• inf — tick box for selecting infinity, which will allow audio to continue indefinitely if
power to the control surface is lost.
• Master to Matrix Post-processing — tick box for selecting whether the tap-off
point is either a pre- or post-master channel processed signal that is sent to the
matrix channels (see “Master to matrix post-processing option” on page 257), and
determines whether the signal is sent without or with processing, respectively. This
Configuring the channels, groups and internal units 251
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is used in combination with the Delay Compensation section underneath (see “GUI
Delay Compensation options” on page 254).
• Redundant DSP? — if you have a redundant DSP connected in the system, select
Yes. Otherwise, select No.
Configuring the channels, groups and internal units
You can change the default name and colour of the input and output channels, groups,
internal rack units and GEQs of the PRO Series Control Centre that appear on the
control surface (LCD select buttons) and GUI. This is done via the ‘Sheet’ screen of
each item, which is accessible via the GUI menu.
The procedure for configuring the VCA/POP groups is shown in “Configuring VCA/POP
groups” on page 105, and this is principally the same for each of the above items.
Changing the default input/output names
You can change the names that appear in the lists on the Input Sheet and Output
Sheet. These lists provide you with a number of default names from which you can
choose when naming your inputs and outputs in the GUI menu.
>> To change the set names in the Input/Output Sheets
1 At the GUI, choose homePreferencesGeneral.
2 In the Names Lists section of User Interface Preferences, click SET NAMES.
This opens the Set Name Lists window.
3 In the Set Name Lists window (shown right), click
within the field containing the name you want to
change. Type in the new name (see “Text editing”
on page 57).
Repeat for any other names you want to change.
4 Click CLOSE.
Adjusting PRO Series illumination
The Illumination section of the Preferences screen lets you
adjust the brightness and contrast of both GUI screens
individually to suit the operating conditions. You can also
adjust the brightness of the lightbar (under the hood) that
illuminates the control surface, and the brightness of the LEDs
(including meters) on the control surface.
>> To adjust the GUI screen brightness and contrast
1 At the desired GUI screen, choose homePreferencesGeneral.
2 In the Illumination section, do the following:
• To increase/decrease GUI screen brightness, click the up/down Screen
Brightness spin buttons.
• To increase/decrease GUI screen contrast, click the up/down Screen
Contrast spin buttons.
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>> To adjust the brightness of the lightbar
To increase/decrease the brightness of the lightbar, click the up/down Lightbar
Brightness spin buttons.
>> To adjust the brightness of the LEDs/meters
To increase/decrease the brightness of the solo LEDs, meter LEDs or the other LEDs on
the control surface, use drag to adjust the appropriate control knob on the GUI (from
full to off).
Setting the time and date
You can change the PRO Series Control Centre’s time and date.
>> To set the time and date of the PRO Series
1 At a GUI screen, choose homePreferencesGeneral.
2 In the Date and Time section of Configuration Preferences,
click SET. This will open a window containing Time and Date
fields.
3 In the Time field, set the current time by typing
the hour and minutes into the Hour and Mins
fields, respectively. Make sure you enter the time
correctly, according to the currently selected
format.
If necessary, change the time display format by
using the Format drop-down list.
4 In the Date field, set the date by typing in the current day, month and year in the
appropriate fields.
5 Click OK.
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Chapter 28: Delay Compensation
(Latency)
A time delay is induced in a channel’s signal by placing, for example, an insert or GEQ in
its path. This delay affects system latency and can also produce undesirable audio
effects. To overcome this the PRO Series incorporates a system of user-configurable
delay compensation parameters. These are presented to the user in the form of
button-selectable options on the GUI and can be switched on or off to suit the current
application.
Insert compensation
If a channel insert is active, it takes a finite amount of time for the signal to be sent
through an internal or external effect and returned to the channel. Therefore, with no
insert compensation, channels with inserts assigned are delayed more than channels
that don’t have an insert assigned to them. If two correlated signals with different
delays are mixed together, this can produce comb filtering.
External FX
Analogue input XLR to
Input channel with
Delay
= 0ms
external insert
PEQ/
DYN
Input channel with no insert
and no compensation
Input channel without insert
and with compensation
input channel output = 2.2ms
Delay through
D/A and A/D = 1.11ms
DYN/
PEQ
Analogue input XLR to
Delay
= 0ms
PEQ/
DYN
input channel output = 1.08ms
DYN/
PEQ
Analogue input XLR to
Delay
= 1.09ms
PEQ/
DYN
input channel output = 2.2ms
DYN/
PEQ
Analogue input XLR to
Input channel with
Delay
= 0.33ms
internal insert and
PEQ/
DYN
input channel output = 2.2ms
Delay through
internal FX = 0.7ms
DYN/
PEQ
Internal FX
with compensation
254 Chapter 28: Delay Compensation (Latency)
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To avoid the comb filtering effect, the PRO Series insert compensation works by
delaying all channels except the ones that have inserts assigned. In practice, the actual
delay used for compensation depends on the type of insert (internal/external) and its
location (stage/FOH). Each channel type or layer within the control centre, such as,
input, aux, master or matrix, has its own parameter controlling the delay compensation
for that layer. This provides the user with the maximum flexibility and allows the
control centre to be configured for the lowest latency for a given application.
GEQ compensation
Output bus channels have the ability to have a GEQ inserted into them, which incurs an
additional delay in their signal path. With GEQ compensation active, a delay is inserted
into the output buses, which is removed when a GEQ becomes active. This ensures
that all bus outputs of the same type are aligned, regardless of whether they use a GEQ
or not.
GUI Delay Compensation options
PRO Series delay compensation (latency) is configured in the Delay Compensation
section of GUI menu’s Preferences screen.
For a description of the delay compensation options and details of when best to use
them, see Table 17 (below). In this table the Description column explains what
happens when the delay compensation option is selected (switched on) and the
Latency (ms) column shows the value that the overall system latency is increased by.
>> To access the delay compensation options
At the GUI, choose home
PreferencesGeneral.
Table 17: Delay Compensation options
Section Option Description Recommendations
Latency
(ms)
Input
Channels
Insert Time-aligns the output of all
input channels, regardless of
whether or not they have an
active insert. When this
option is switched off, any
input channels with inserts
will be delayed relative to
those input channels that do
not have inserts.
If no inserts are used in the
input channel layer, switch
this option off to reduce the
overall system latency.
If there is an insert on any
input channel, switch this
option on.
1.11
Aux
Sends
Monitor
Mode
(Align
with
Masters)
See “Monitor Mode (Align
with Masters)” on page 256.
N/A N/A
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Aux
Sends
Insert Compensates for inserts
placed in aux buses. To do
this it modifies the delay that
sits between the input
channel outputs and
master/matrix channel
inputs, so that signals fed
from inputs to masters will
line up with signals fed from
inputs through auxes to
masters.
If there are no inserts on any
aux channels, switch this
option off to reduce overall
system latency.
If any aux channel has an
insert, switch this option on.
If the Monitor Mode (Align
with Masters) option is
selected, it is prudent to
switch this option off.
1.11
Aux
Sends
Send-
FX-
Return
This option compensates the
inputs to master and matrix
paths for the signal path
between an aux through an
effect, and back through a
return to the master and
matrix channels.
If no effects are used between
the aux and return channels,
switch this option off so that
overall system latency will be
reduced.
If any effects are used
between any auxes and
returns, switch this option on.
If the Monitor Mode (Align
with Masters) option is
selected, it is prudent to
switch this option off.
1.11
Aux
Sends
Graphic
EQ
This setting controls the delay
compensation that aligns aux
bus outputs for channels
which do use GEQ with those
that do not.
If no aux buses use GEQ,
switch this option off to
reduce overall system latency.
If any aux bus has a GEQ
inserted, switch this option on
to ensure all aux bus outputs
are time-aligned.
0.7
Master
and
Matrix
Insert Time-aligns the output of all
the master and matrix
channels, regardless of
whether or not they have an
active insert. With this option
switched off, the outputs of
any master or matrix
channels using inserts will be
delayed relative to the
equivalent channels not using
them.
If no inserts are used in the
master/matrix channel layer,
switch this option off to
reduce overall system latency.
If Inserts are used in any
master/matrix channels,
switch this option on.
1.11
Master
and
Matrix
Graphic
EQ
This option controls the delay
compensation that aligns
master and matrix bus
outputs for channels using
GEQ with those that do not.
If no master or matrix buses
are using GEQ, switch this
option off to reduce overall
system latency.
If any master or matrix buses
have a GEQ inserted, switch
this option on to time-align all
master and matrix bus
outputs.
0.7
Section Option Description Recommendations
Latency
(ms)
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Monitor Mode (Align with Masters)
The default control centre bus structure is organised such that inputs can be routed to
masters and also simultaneously routed to masters and matrix channels via the aux
(aux send) buses (Figure 28) or via the aux and return buses (Figure 27), while
maintaining the same overall input to output latency in both paths.
This may not be the desired structure if aux (aux send) and matrix outputs are both
being used for monitor mixes, where it is desirable for aux, masters and matrix outputs
to be time-aligned with the minimum possible latency.
When this switch is on, the delay element that is used to delay the paths from input
channels to master/matrix channels is removed. With all insert and GEQ delay
compensation switched off, the latency between a system input XLR and a system
output XLR being fed by an aux, master or matrix channel is 1.83ms (Figure 29).
In this mode, it is advisable to use the same GEQ and insert compensation settings for
aux and master/matrix channels to maintain their identical output latency.
Figure 27: Routing via the aux send and return buses
Figure 28: Routing via the aux send buses
Figure 29: Latency for normal routing
Input channel
Delay
Master channel
Matrix channel
Aux return
channel
External FX
Aux send
channel
Input to aux output
latency = 1.5ms
Input to master/matrix output
latency = 3.39ms
Monitor Mode (Align with Masters) = off
Send-FX-Return = on
All other compensation = off
Input channel
Delay
Master channel
Matrix channel
Aux send
channel
Input aux output
latency = 1.5ms
Input to master/matrix output
latency = 2.26ms
Monitor Mode (Align with Masters) = off
All other compensation = off
Input channel
Delay
Master channel
Matrix channel
Input to aux/master/matrix output
latency = 1.84ms
Monitor Mode (Align with Masters) = on
All other compensation = off
Aux send
channel
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Zones
The PRO Series system can be divided into conceptual ‘zones’, as follows:
• System Input Zone: DL251 Audio System I/O, DL351 Modular I/O, DL431 Mic
Splitter or DL451 Modular I/O/AES3 inputs, which are normally routed to input
channels. These inputs are primary system inputs and the control centre output
latency is measured relative to these inputs.
• Mix Zone: Aux outputs, return inputs and master/matrix direct inputs, which can be
freely patched to and from internal or external effects, while maintaining output
signal alignment.
• Output Zone: System outputs, that is, master and matrix outputs when Monitor
Mode (Align with Masters) option is switched off, or aux, master and matrix
outputs when it is switched on.
Aux direct inputs are fixed to the System Input Zone, so that system inputs that are
routed to an aux direct input will automatically line up with inputs routed to auxes via
input channels.
Return inputs and master and matrix direct inputs can be configured to operate in
either the System Input Zone (for example, as additional control centre inputs) or the
Mix Zone (for example, as effect returns) and are configurable on a per channel basis.
Examples of patches using the Mix Zone that are all fully compensated when the Send-
FX-Return delay compensation is switched on are:
• Aux -> Internal/External Effect -> Return
• Aux -> Internal/External Effect -> Master Direct Input
• Aux -> Internal/External Effect -> Matrix Direct Input
For all system inputs — including insert return points — the actual location of the input
XLR is automatically compensated for, so an insert using I/O at the stage location will
produce the same latency as an insert at FOH.
Input channel direct outputs are simply a copy of the input channel output or mic input
signal, depending on the direct output mode for a particular channel. It is not possible
to delay these signals to line up with the main system outputs or aux outputs, so
patching from a direct output to an effect and back in to a return/master direct input
etc. cannot be fully compensated for.
The input to direct output latency depends on the direct output mode and input channel
insert delay compensation status according to the following table.
Master to matrix post-processing option
The signal path that feeds master bus signals onto matrix channels is fully compensated
for, so that signals fed directly to matrix channels or indirectly to matrix channels via
master channels will always line up at the outputs, as will signals sent only to masters
or only to matrix channels.
You have a choice of tap-off point, so you can choose to send either a pre-master or
post-master channel processed signal to the matrix channels. This is a global setting
and affects all master -> matrix contributions (see Table 30 “Master and matrix tap-off
points”).
Direct Output mode
Input channel insert compensation (ms)
Off On
Pre-processing 0.76 0.76
Post-processing 1.073 2.188
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Figure 30: Master and matrix tap-off points
Sending pre-processed master bus signals to matrix channels reduces the overall
system latency. If post-processed tap-off points are used, the system must
compensate for both the latency of the matrix and master channels, and — if insert and
GEQ compensation are both required on master and matrix channels — this can push
the maximum system latency up to 10.1 ms. With no other insert or GEQ
compensation switched on, using post-processed tap-off points produces a system
latency of 2.44ms, as opposed to pre-processing tap-off points, which would produce a
latency of 2.26ms. When Monitor Mode (Align with Masters) is switched on, these
values are 1.83ms and 2.01ms, respectively.
Solo bus delay compensation
The following signal paths all have the same latencies for the various delay
compensation preference settings shown below.
• XLR - IP - SOLO
• XLR - IP - AS - SOLO
• XLR - IP - MAST - SOLO
• XLR - IP - MTX - SOLO
• XLR - IP - MAST - MTX - SOLO
• XLR - AS DI - SOLO
• XLR - MAST DI (Input) - SOLO
• XLR - MTX DI (Input) - SOLO
• XLR - AR (Input) - SOLO
Delay compensation preset Latency (ms)
FOH Mix 8.71
FOH Mix Low Latency 4.66
Monitor Mix 3.11
Monitor Mix Low Latency 2.41
Master channel
Matrix channel
From inputs/aux sends
and aux returns
From inputs/aux sends
and aux returns
Pre-/post-setting
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Typical configurations
The following subsections contain actual examples of typical configurations to illustrate
the effects of delay compensation. Please note the following:
• All XLRs are located at stage end, unless FOH is stated.
• INS can mean an internal effect or an external effect with analogue or AES3 I/O at
either FOH or stage positions.
• Abbreviations are: IP = input channel; AS = aux (send) channel, AR = (aux) return
channel; AR (Input) = (aux) return channel set to input mode; MAST = master
channel; MTX = matrix channel; DI (Mix) = direct input set to Mix Time Zone (DI can
be either pre- or post-); and DI (Input) direct input set to System Input Time Zone
(DI can be either pre- or post-).
FOH mix setup
The following table shows the delay compensation settings for this mix.
The following signal path examples all measure the same latency of 780 samples at
96kHz = 8.125ms:
• FOH XLR – IP – MAST – XLR
• XLR – IP – MAST – XLR
• XLR – IP – MTX – XLR
• XLR – IP – AS – MAST – XLR
• XLR – IP – AS – INS – MAST – XLR
• XLR – IP (With INS) – AS (With INS) – INS – AR – MAST (With INS) – XLR
• XLR – IP (With INS) – AS (With INS + GEQ) – INS – AR – MAST (With INS + GEQ) –
XLR
• XLR – IP – AS – INS – MAST DI (Mix)
• XLR – IP – AS – INS – MTX DI (Mix)
• XLR – MAST DI (Input)
•XLR – MTX DI (Input)
• XLR – AS DI – MAST – XLR
• XLR – AR (Input) – MAST – XLR
• XLR – AR (Input) – MTX – XLR
• XLR – IP – MAST – MTX
Option On/off status
Master to Matrix Post-processing Off
Input Channels
Insert On
Aux Sends
Monitor Mode (Align with Masters)
Insert
Send-FX-Return
Graphic EQ
Off
On
On
On
Master and Matrix
Insert
Graphic EQ
On
On
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• XLR – IP – AS (With GEQ) – MAST (With GEQ)
• XLR – IP – AS (With GEQ) – MTX (With GEQ)
• XLR – AR (Input) – AS – MAST – XLR
• XLR – AR (Input) – AS – MTX – XLR
FOH mix low latency
The following table shows the delay compensation settings for this mix.
The following signal path examples all measure the same latency of 392 samples at
96kHz = 4.08ms:
• FOH XLR – IP – MAST – XLR
• XLR – IP – MAST – XLR
• XLR – IP – MTX – XLR
• XLR – IP – AS - MAST – XLR
• XLR – IP – AS – INS – AR – MAST – XLR
• XLR – IP – AS – INS – AR – MAST (With GEQ) – XLR
• XLR – IP – AS – INS – MAST DI (Mix)
• XLR – IP – AS – INS – MTX DI (Mix)
• XLR – MAST DI (Input)
• XLR – MTX DI (Input)
• XLR – AS DI – MAST – XLR
• XLR – AR (Input) – MAST – XLR
• XLR – IP – MAST – MTX
• XLR – IP – AS – MAST (With GEQ)
• XLR – IP – AS – MTX (With GEQ)
• XLR – AR (Input) – AS – MAST – XLR
• XLR – AR (Input) – AS – MTX – XLR
Option On/off status
Master to Matrix Post-processing Off
Input Channels
Insert Off
Aux Sends
Monitor Mode (Align with Masters)
Insert
Send-FZ-Return
Graphic EQ
Off
Off
On
Off
Master and Matrix
Insert
Graphic EQ
Off
On
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Monitor mix
The following table shows the delay compensation settings for this mix.
The following signal path examples all measure the same latency of 243 samples at
96kHz = 2.53ms:
• FOH XLR – IP – MAST – XLR
• XLR – IP – MAST – XLR
• XLR – IP – MTX – XLR
• XLR – IP – MAST – MTX – XLR
• XLR – IP – AS – XLR
• XLR – IP – AS (With GEQ) – XLR
• XLR – MAST – DI (Input) – XLR
• XLR – MTX – DI (Input) – XLR
• XLR – AS DI – AS – XLR
• XLR – AS DI – AS (With GEQ) – XLR
• XLR – AR (Input) – MAST – XLR
• XLR – AR (Input) – MAST (With GEQ) – XLR
• XLR – AR (Input) – MTX (With GEQ) – XLR
• XLR – AR (Input) – MAST – MTX – XLR
• XLR – AR (Input) – MAST – MTX (With GEQ) – XLR
• XLR – AR (Input) – AS – XLR
Option On/off status
Master to Matrix Post-processing Off
Input Channels
Insert Off
Aux Sends
Monitor Mode (Align with Masters)
Insert
Send-FZ-Return
Graphic EQ
On
Off
Off
On
Master and Matrix
Insert
Graphic EQ
Off
On
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Monitor mix (low latency)
The following table shows the delay compensation settings for this mix.
The following signal path examples all measure the same latency of 176 samples at
96kHz = 1.83ms:
• FOH XLR – IP – MAST – XLR
• XLR – IP – MAST – XLR
• XLR – IP – MTX – XLR
• XLR – IP – MAST – MTX – XLR
• XLR – IP – AS – XLR
• XLR – MAST DI (Input) – XLR
• XLR – MTX DI (Input) – XLR
• XLR – AS DI – AS – XLR
• XLR – AR (Input) – MAST – XLR
• XLR – AR (Input) – MAST – MTX – XLR
• XLR – AR (Input) – AS – XLR
Option On/off status
Master to Matrix Post-processing Off
Input Channels
Insert Off
Aux Sends
Monitor Mode (Align with Masters)
Insert
Send-FZ-Return
Graphic EQ
On
Off
Off
Off
Master and Matrix
Insert
Graphic EQ
Off
Off
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Chapter 29: Panel Connections
This chapter explains the front and rear panel connections of the PRO Series Control
Centre.
Front panel connections
The PRO Series Control Centre has two connector panels at the front (left and right) and
one to the left of the GUI.
Typical PRO Series Control Centre front panel connections
USB Keyboard
Master bayMix bay
Front view of PRO Series
Headphones
Monitor A Monitor B
USB memory
stick
Any USB
device
Headphones with mic
(see “talk section” on
page 268)
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Rear panel connections
This section details the three main sections of the rear of the PRO Series Control
Centre.
Mains power and ventilation section
Caution!
A minimum of two power supply modules must be supplying power
to the PRO Series Control Centre for correct operation.
The power supply comprises three identical mains and fan assembly modules. Each
mains socket accepts a locking IEC mains connector.
There is a DC power on/off isolator switch above the three modules.
Connecting a PRO Series Control Centre to the mains supply
Item Description
1 D.C. POWER on/off isolator switch.
2 Green power on/off LED indicator. Illuminates when the power at its
associated mains outlet is switched on.
3 Mains IEC socket.
4 Module handle.
5 Fan vent.
6 Mains and fan assembly module.
7 Mains IEC cable assembly, with locking type connector.
x3
Mains
plug
Mains
outlet
7
1
2
3
4
5
6
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PRO Series Live Audio Systems
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External connections and communications (centre left) section
The far left rear connector panel houses the sections shown in the following diagram.
External connections and communications on the rear panel of a PRO Series Control
Centre
KVM connections section
Three sets of KVM connections allow three PCs (laptops, tablets etc.) to be connected
to the PRO Series Control Centre for external monitoring and control. Each set
comprises a VGA monitor input 15-way, D-type socket and a mouse & keyboard
output USB type B socket, which can be used for connection of a mouse or keyboard.
KVM connections on the rear panel of a PRO Series Control Centre
Item Description
1 MIDI section (see “MIDI section” on page 268).
2 talk section (see “talk section” on page 268).
3 Monitor/surround outputs section (see “Monitor and assignable outputs/
surround section” on page 268).
4 KVM connections section (see “KVM connections section” on page 267).
5 VGA outputs section (see “External monitor section” on page 272).
1
2
4
5
3
Laptop PC,
tablet etc.
Mouse
Keyboard
15-way
D-type
connector
USB type B
connector
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talk section
The talk section has the following connectors:
• talk output — male output XLR.
• talk mic — female input XLR. This is the equivalent to
the talk mic socket on the front panel (see “Front panel
connections” on page 265). Use one or the other of
these connections, but don’t use both.
• talk back — female input XLR.
MIDI section
The MIDI section has in, out and thru sockets that each
accepts a 5-pin DIN connector.
Monitor and assignable outputs/surround section
There are two monitor outputs
sections (a and b) for the
monitor A and B sections, and
an assignable outputs section.
Each section has right and left
connectors.
When the PRO Series is
configured for surround panning
operation the three output
sections function as
speaker/subwoofer connectors.
The connections for the three
types of surround operation
(quad, LCRS and 5.1) are
shown in Figure 31, Figure 32
and Figure 33. For more
information on surround
panning, see “Surround
panning” on page 120.
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Figure 31: Connections for a quad surround system (with recommended speaker
set-up)
Front left
Front right
Rear right
(right surround)
Rear left
(left surround)
30°30°
110° ±10°
110° ±10°
Listening
distance
Loudspeaker
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Figure 32: Connections for an LCRS surround system (with recommended speaker
set-up)
Front left
Centre
Front right
Rear right
(right surround)
Rear left
(left surround)
30°30°
110° ±10°
110° ±10°
Listening
distance
Loudspeaker
=
Both have an
identical signal
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Figure 33: Connections for a 5.1 surround system (with recommended speaker set-up)
Subwoofer
Front left
Centre
Front right
Rear right
(right surround)
Rear left
(left surround)
30°30°
110° ±10°
110° ±10°
Listening
distance
Loudspeaker
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External monitor section
You can view exactly what is shown on the GUI’s mix and master bay screens on
external monitors. Each screen has a 15-way D-type connector into which you can plug
an external monitor.
GUI screen associations of the external monitor VGA connectors on the rear panel of a
PRO Series Control Centre
Master bayMix bay
Monitor
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Audio, networking and synchronisation section
The centre connector panel houses the following.
Typical audio, networking and synchronisation connections on the rear panel of a PRO
Series Control Centre
Word clock
The word clock 75R
section comprises
input and output
BNC cable sockets for
synchronisation with
external devices that
can transmit/receive
a 96kHz word clock
signal.
Item Description
1 word clock 75R section (see “Word clock” on page 273).
2 AES3 sync section (see “AES3 sync” on page 274).
3 Ethernet tunnel section (see “Ethernet tunnel section” on page 274).
4 Ethernet control section (see “Ethernet control section” on page 274).
5 AES50 audio section (see “AES50 audio” on page 274).
6 snake X and snake Y sections (see “snake X and snake Y sections” on
page 275).
2
3
456
1
BNC type
connector
BNC type
connector
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AES3 sync
input and output connectors for synchronisation with external devices that can
transmit/receive a 96kHz AES3 signal.
Ethernet tunnel section
An external 10Mb/s port (on EtherCon®) allows connection to external non-Midas
equipment, such as hubs and switches.
Note: We recommend that you connect this port after the PRO Series Control Centre
has powered up, see “Powering the system” on page 42.
Ethernet control section
Two 100Mb/s Ethernet control ports (on EtherCon®) let you connect equipment, such
as the Klark Teknik DN9331 RapidE.
AES50 audio
Three AES50,
24-wide, bi-directional
digital audio
EtherCon® ports.
DN9331 RapidE
x3
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snake X and snake Y sections
This section houses the ‘snake’ ports that connect the PRO Series Control Centre to the
stage. (The snakes supplied are dependent on PRO Series type.)
Snake interconnections for the PRO Series Control Centres
Item Description
1 Fibre optic ‘snake’ (cable) connectors, with OpticalCon® sockets. These are
HyperMac, 192-wide, bi-directional digital audio ports.
2 Copper ‘snake’ (cable), with EtherCon® connectors. These are Gigabit,
HyperMac, 192-wide, bi-directional digital audio ports.
3 ok LED (green) for both the optical/copper X and Y snakes. Pulsates when
the link is synchronised between the router and end point.
4 error LED (red) for both the optical/copper X and Y snakes. Illuminates
when either no communications or a fault are detected.
Rear of DL371 DSP unit
Rear panel of PRO Series Control Centre
3
4
4
3
11
22
PRO3
PRO6 and PRO9
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I/O section (far right)
The primary system I/O panel has three slots (shown below) for fitting standard 8-way
cards as used on the DL451 Modular I/O and DL351 Modular I/O units. This gives a
maximum of 24 inputs and 24 outputs, provided the appropriate cards are fitted.
Typical modular I/O section on the rear panel of a PRO Series Control Centre
For information on the I/O modules, see Appendix E "I/O Modules" on page 379.
1
2
3
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Chapter 30: Inputs
By default, all of the input channels are mono, although any two adjacent channels can
be linked to form a stereo pair. The order of processing in the signal path of both
channel types is basically the same.
The order of the descriptive sections in this chapter loosely follow the physical layout of
the input fast strips (top to bottom), which is also approximately the signal path taken
by the input channels. However, this varies according to signal processing order and
the operation of certain controls.
Although the input fast strips in the 12- and 4-channel inputs bays are identical in
appearance, their function may vary, depending on the operating mode. Therefore,
this chapter will concentrate on the fast strips in the 12-channel input bay and its
associated channel strip in the mix bay, although any differences between the two input
bays will be highlighted and explained.
Input channel routing
The diagram right shows the default
signal path, on which the structure of
this chapter is based. This chapter will
explain each of these groups of
controls, showing the pertinent controls
on both the control surface and GUI.
Input channel signal path
Mic splitter remote
controls (see
page 286)
Channel configuration
(see page 283)
Gain and filter controls
(see page 286)
Direct output (see
page 288)
Insert controls (see
page 298)
Compressor (see
page 290)
Gate (see
page 294)
Equaliser (see
page 299)
Aux controls (see
page 303)
Matrix controls (see
page 303)
Master controls (see
page 306)
Order can be
swapped by
pressing the
C/O button (see
page 288)
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Input channel areas of the control surface
The control surface has a total of 16 input fast strips, so that 16 input channels can be
at the control surface at any one time. The input fast strips are divided between the
12-channel input bay (left) and the 4-channel input bay (right).
Areas on the control surface concerned with the input channels
Input fast zone
(4-channel bay)
Input fast zone
(12-channel bay)
Channel strip and
mixes (master
bay)
Channel strip and
mixes (mix bay)
GUI control areas
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PRO Series Live Audio Systems
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Input fast strips, channel strips and mix buses
This section shows the layout of an input fast strip, a channel strip and the mix buses
on the control surface. (Only the fast and channel strips of the 12-channel and mix
bays are shown here, as the ones in the 4-channel input bay and master bay are
similar.)
Page 303
Page
306
Input fast strip
Page 282
and
page 284
Page
285
Page
286
Page
288
Page
290
Page
294
Page
299
Page
306
Page
306
E zone
(page 299)
Page
286
Page
288
Page
296
D zone
(page 290 and
page 294)
Page
285
Page
298
Page
303
Page
306
Page
306
Channel strip
Mix
buses
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Inputs on the GUI
On the two GUI default screens — Overview and Meters — the GUI displays 12 and
four input fast strips, respectively. These correspond to the input bays on the control
surface.
When an input fast strip is selected, the GUI’s channel strip displays the channel’s
input channel overview. From this display, you can access processing areas by
clicking within specific sections, while avoiding any controls.
For information on how the GUI displays the input channels, see “GUI” on page 30. For
details of how to operate the GUI, see Chapter 6 “Working With The Control Centre”.
GUI input fast strips
The input fast strips on the GUI (a typical example is shown right) give
an overview of their equivalent versions on the control surface. These
show the gain, bus controls, pan control knob and fader.
The gain trim section changes its appearance to suit the type of control
that has been ‘swapped’ to it (see “Using gain swap” on page 288).
GUI channel strips (inputs)
When an input channel is selected, its overview appears in the
channel strip. This is called the “input channel overview” (shown
right), and provides limited controls and status information. Clicking
a non-control area within a specific section will open that section’s
processing area, which contains a comprehensive set of controls.
The following processing areas are available, which are shown in
Figure 34 “Processing areas available from the input channel
overview display” on page 281:
• Configuration (direct out, safes and gain trim - channel ID,
channel source, filters, linking, swap, delay and processing order)
• Compressor
•Gate
•EQ
•Inserts
•Mix buses
• Masters (faders, solo, panning etc.)
For details of how to navigate the GUI channel strip, see “Navigation
via the GUI” on page 68.
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Figure 34: Processing areas available from the input channel overview display
Configuration
EQ
Matrix buses
Aux buses
Insert
Masters
Compressor
Gate
input channel overview
Although aux sends
9-16 are not shown,
their display is similar
to above
This section is not
available on the
PRO3, as it only has
matrices 1 to 8
Although mtx
sends 9-16 are
not shown
(PRO6 and PRO9
only), their
display is similar
to above
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Input metering
The Meters screen (default view on the master bay GUI screen) shows all of the meters
all of the time.
Meters can be switched globally to monitor the raw A/D input point, and are also
individually switchable using the CHECK button in the gain trim section (see “Mic amp
input gain (preliminary input processing)” on page 286).
Input metering on the control surface and master bay GUI screen
Item Element Description
1 signal level meter 20-segment LED meter ‘cluster’. Defaults to monitor
pre-fader signal level. Meter range is +21dB to
-36dB, in 3dB increments.
2 gain reduction
meter
Seven-segment LED meter monitors the amount of
gain reduction when using a compressor. Meter
range is 1dB to 20dB, in varying increments.
3 gate meter Seven-segment LED meter, monitors the amount of
gain reduction when using a gate. Meter range is 5dB
to 35dB, in 5dB increments.
4 PRE switch Global meter switch that switches all inputs to
monitor the raw A/D input point
4
2
3
1
5
6
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Channel configuration controls
There are a number of input channel controls that are loosely termed ‘channel
configuration’ controls. These comprise:
• Input channel ID (GUI only): name and identification. Both the name and colour
of the name field are user-configurable. For details, see “Input channel ID (GUI
only)” on page 284.
• Input channel source (GUI only): shows where the input is routed (patched)
from, that is, the physical location the input channel is notionally getting its audio
from, and provides direct access to the Patching screen. For details, see “Input
channel source select (GUI only)” on page 284.
• Gain swap: swaps from remote (stage box) gain to digital trim (console gain), and
vice versa. For details, see “Mic amp input gain (preliminary input processing)” on
page 286.
• Stereo linking: links adjacent channel for stereo operation. For details, see “Stereo
linking (GUI only)” on page 284.
• Input channel direct output: routes signal path from a selected point to an I/O.
For details, see “Direct output” on page 288.
• Input channel safes: has safe switches that protect specific controls from being
changed by the automation system. For details, see “Safes” on page 285.
• Gain and filter: mic amp input gain.
• Inserts: allows configuration of the send and return points when an insert is used.
• Input channel delay (GUI only): user-defined delay to be added to the input
signal processing. For details, see “Input channel delay (GUI only)” on page 284.
• Processing order: selects whether the EQ or the dynamics comes first in an input
channel’s signal path.
Their control is divided between control centre and GUI, although some are GUI only.
All of them are in the configuration processing area, with the exception of the inserts,
which have their own processing area (see Figure 34 “Processing areas available from
the input channel overview display” on page 281).
Areas on the control surface concerned with input channel configuration
5 Input channel area Shows the meters for all of the input channels.
Population is PRO Series-type dependent.
6 Clr. Peaks button This button momentarily clears the meter peaks.
Item Element Description
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Input channel ID (GUI only)
You can change the channel name in the GUI
strip. This can be done in the input channel
overview or in any of the processing areas.
To change the background colour of the input
channel name field (green in the example shown), open the Input Channels Sheet
screen of the GUI menu.
On the control surface, channel ID is displayed on the LCD select button (see “LCD
select button” on page 308).
>> To change the channel name in the GUI channel strip
Click within the channel name field and type in the new channel name (see “Text
editing” on page 57).
Input channel source select (GUI only)
The channel’s source is shown in the text field;
if none has been selected, it will contain the
text “Unassigned” (as shown right). You can
select the source for this channel by clicking
source, which opens the Patching screen (see Chapter 8 "Patching" on page 71).
Also, by clicking the recorder button you can set the input source to tape returns,
(for example, for a virtual soundcheck).
Input channel delay (GUI only)
The input channel delay can only be changed via the delay section of
the configuration processing area (GUI channel strip). This section
has a control knob for adjusting the delay in the range 0ms to 50ms;
this value is displayed in both milliseconds (ms) and metres (m).
You can fine tune the delay value using the spin buttons to the left of
the control knob.
The delay section lets you incorporate a time delay on an input
channel, which is used mainly for mic placements and time aligning
to reduce comb filtering. For example, on a drum kit mic set up, you
may have a mic close to a snare drum and a couple of overhead mics. In this case,
setting an input channel delay on the snare drum — to bring it more in line with the
overheads — will probably produce a better sound.
Stereo linking (GUI only)
The linking/gain swap section of the
configuration processing has a LINK switch for
linking the selected input channel to the adjacent
input channel on the right. The LINK OPT.
button opens a Stereo Linking Options window
from where you can choose which parameters
you want to link.
For more information, see Chapter 10 "Stereo
Linking" on page 127.
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Safes
Each input channel has six different
safes that protect specific
controls/areas from the automation
system.
You can switch the safes on/off by
using the buttons in the channel
safes section of the channel strips
or via those in the input channel
safes section on the GUI, which
also illuminate when they are on.
The input fast strips on the control
surface only provide on/off status
information via the LEDs in the
safes section and the ones just
above the faders.
For more information on what areas
are protected by each safe, see
Appendix M "Parameters Protected
By Safes" on page 469.
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Mic amp input gain (preliminary input processing)
There are two types of mic input channel controls: digital and remote. Most of the
controls are digital, which directly affect the parameters stored within the DSP.
However, a few controls can also be thought of as remote controls, which control the
physical components of the mic splitters and even components that are in the signal
path before it enters the digital domain.
The remote controls are dependent on the types of cards fitted in the I/O box. For
example, the analogue input module (DL441) has a 48V phantom voltage button and a
gain control. The controls are adjusted via the device’s configuration window (see
“Configuring the devices” on page 89).
By default, console digital trim is adjusted by the gain trim control knob in each input
fast strip and the remote gain control is adjusted by the stage box control knob in the
input channel strip. However, by pressing the gain swap button these functions are
swapped over, so that the gain trim control knob now controls the remote gain, and the
stage box control knob controls the digital trim. Pressing gain swap again reverts them
to default. As the legends of these two control knobs on the control surface are
permanently fixed, their current ‘swap’ status can only be determined via the GUI.
Mic amp input gain on the control surface and GUI
4
1 2 4 5 76912
1011 8313
14
12
11
15
10
14
9
5
7
6
DL251 DL351 DL431 DL451
8
6/14
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Item Control Function
1 48V switch (stage
box only)
Connects 48 volts of phantom power to the XLR mic
input channel connector. Suitable for a condenser
microphone or DI box.
2 TALK switch Connects talk mic and/or tone and noise generators
to the input channel.
3 Gain swap button See “Using gain swap” on page 288.
4 SLOPE switch
(digital trim only)
Selects the value of the high pass filter. Where,
switch on (illuminated) = 24dB slope and switch off
(extinguished) = 12dB slope.
5 SLOPE switch
(digital trim only)
Selects the low pass filter. Where, switch on
(illuminated) = 12dB slope and switch off = 6dB
slope.
6 stage box control
knob
Adjusts the input gain of the remote amplifier in 5dB
steps, ranging from -5dB to +40dB. Note that the
stage box control knob on the control surface will
only adjust the gain currently selected to the GUI
input channel strip, that is, stage box or digital trim.
7 CHECK switch
(stage box only)
Monitors the mic amp input after the 30Hz filter, but
before any further processing. (The 30Hz subsonic
filter switch accesses the high pass filter on DL431
Mic Splitter if the PRO Series is connected to an XL8.
In this case, gain steps would be 2.5dB to +45dB.)
8 30Hz subsonic
filter switch
Acts on remote amplifier (mic splitter) to remove very
low frequencies in the audio signal — usually caused
by noise on stage. This avoids wasting valuable
headroom trying to digitise it. This button changes
the meter to monitor mic amp output directly.
9 low pass control
knob (digital trim
only)
Adjusts frequency of low pass filter in the range 2kHz
to 20kHz.
10 Low pass filter
switch /[IN]
(digital trim only)
Activates low pass filter in the input channel signal
path before the insert points and EQ.
11 High pass filter
switch /[IN]
(digital trim only)
Activates high pass filter in the input channel signal
path before the insert points and EQ.
12 high pass control
knob (digital trim
only)
Adjusts frequency of high pass filter in the range
10Hz to 400Hz.
13
Phase switch
Applies a 180° inversion of the input signal polarity
within the input amplifier, such that channel signal
will have opposite polarity to the input signal.
This is used to correct input signal phase problems
when trying to sum signals that are 180° out of
phase. For example, where two mics are facing each
other when using a mic on both the top and bottom of
a snare drum. Ordinarily, the two mics would be out
of phase - causing cancellation when the control
centre sums the two signals into the output.
Reversing the phase of one signal causes the mics to
have the same phase, thus avoiding cancellation.
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Using gain swap
Operating the gain swap button, swaps
the function of the gain trim (digital trim)
section (top of input fast strips) to that of
the stage box section (GUI channel
strip). The effects of this action are only
shown on the GUI, as illustrated in the
diagram right.
Always check the GUI for ‘swap’ status.
Processing order
The processing order section
(control surface and GUI) has a
button that changes whether the
EQ or the dynamics comes first in
an input channel’s signal path.
The current order of processing is
only shown on the GUI, just under
the processing order section.
Gate always precedes
compression, no matter what the
processing order is set to.
Direct output
The direct output section provides an internal connection to effects etc. or a way of
leaving the control centre via an I/O box. It lets you take a signal directly out of a
defined point in the input channel’s signal path and route it to either an internal
assignable effect or a physical output (a physical connection at one of the line I/O
boxes). This function is optional and assigned on a channel-by-channel basis.
This section is deliberately distanced from the main channel panel controls because it is
a limited resource and unused on many channels.
Selection of signal path position (item 4) and destination (item 5) can only be carried
out via the GUI.
14 Gain trim (digital
trim) control knob
Applies continuous trim adjustment (small digital
steps) of the input signal level in the range –40dB to
+20dB. Gives a further 40dB of fine adjustment
(DSP) on top of the remote amplifier gain setting.
Note that this control knob (control surface only) will
only adjust the gain currently selected to its GUI
input fast strip, that is, stage box or digital trim.
15 Graph Shows the effects of currently applied filter.
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Direct output controls for the input channels on the control surface and GUI
Item Control Function
1 MUTE switch Mutes any assigned direct output by removing signal
from the output. However, it will not operate (will
remain illuminated) if nothing is assigned. It is
included in the scene recall system but is not affected
by the channel mute safe or the auto-mute masters
(unless the source tap-off point is after the main
channel mute).
2 Solo B switch Changes the operation of the SOLO switch so that it
routes signals to the monitor B section of the control
centre.
3 SOLO switch Activates signal routing to the Monitor A section of
the control centre.
4 Tap-off point
graphic
Shows where the direct output is sourced from in the
signal path, as selected by the mode button (see
item 6).
5 dest button Opens the Patching screen so that you can select
the destination of the direct output.
6 Mode button Changes the source tap-off point for the signal.
There are three options: post-fader and mute;
pre-mute and post-processing; or pre-mute and
pre-processing. This function is not used if the direct
output is not assigned to channel.
7 Meter (10-LED) Monitors the direct output level in the range +18dB to
-36dB.
8 Control knob Adjusts direct output level. Range is infinity (∞) to
10dB.
9 assigned LED Illuminates when a direct output is in use.
10 Direct output
drop-down list
Displays the destination(s) of the direct output. For
example, to an O/B vehicle, while simultaneously
going into a DN9696.
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Dynamics (D zone)
The dynamic section — or D zone — controls two dynamic devices present in the input
channel signal path, that is, the compressor and gate. While most D zone controls are
shared between the two dynamic devices, some are device-specific. The GUI treats
both devices independently, the processing area of the one currently displayed in the
channel strip being the one currently selected to the D zone. Swapping between the
two dynamic devices can be done via an input fast strip, the D zone or the GUI (see
Chapter 7 "Navigation" on page 59). Operating the dynamic device’s ON button
activates the device, but also affects the audio.
You can select the source of both the compressor and gate, and also use the side chain
for both. For side chain details, see “Side chain” on page 296.
Compressor
The input channel compressor has four styles — corrective, adaptive, creative and
vintage — which are selectable via the MODE button. Each has a distinctive
appearance in the GUI channel strip. While the dynamic section is addressing the
compressor, all of its controls are enabled except the hold control knob.
Compressor types and their input channel controls (control surface and GUI)
D zone
Creative
Vintage
Corrective
Adaptive
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Item Control Function
1 ON switch Enables the compressor in the signal path. When
switched off, compressor is bypassed. (Both the
comp and gate switches can be on at the same
time.)
2 listen LED To aid set up, the compressor has a side chain listen
that sends the side chain onto a solo bus. The listen
LED illuminates to warn you that soloed material is
from the side chain, and not the main channel. For
information on the side chain, see “Side chain” on
page 296.
3 threshold control
knob
Sets the signal level above which gain reduction
starts to be applied. Range is from -50dB to +25dB.
4 comp/gate up and
down select
buttons
Swaps dynamic section control from compressor to
gate, and the reverse.
5 make up gain
control knob
Compensates for the reduced loudness of a
compressed signal. Range is from 0dB to 24dB.
6 KNEE switch Controls how compressor starts to apply gain as the
signal goes through the threshold; see “Knee type”
on page 293. For a description of the options, see
Table below. For more information, see “Knee” on
page 342.
7 ratio/range/
[ratio] control
knob
Adjusts amount of compression applied to signals
above threshold. Range is from infinity (∞) to 1:1.
When set to maximum (1:1), sets compressor to
limiter mode.
8 attack control
knob
Adjusts time for compressor to respond after an over-
threshold signal. Range is from 0.2ms to 20ms
(milliseconds).
9 MODE switch Selects compressor mode. There are four
compressor types available: corrective, adaptive,
creative and vintage. See “PRO Series compressor
modes (dynamic)” on page 341 for details.
10 release control
knob
Adjusts time for compressor to recover after
programme material falls back below threshold.
Range is from 0.05s to 3.00s (seconds).
11 Gain reduction
meter
Mimics the gain reduction meter at the top of the
input channel’s fast strip (see “Input metering” on
page 282).
12 Graph See “Compressor graph” on page 292.
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Compressor graph
This section uses examples to illustrate the affect on the compressor graph of adjusting
the compressor’s parameters.
Ratio
The following diagram shows a signal on the compressor graph with ratio applied; it
shows the point of threshold and how ratio affects the gradient of the signal following
this. The graph on the right shows an uncompressed signal, that is, with no ratio
applied.
Graphs showing the effect of applying ratio
Item Description
1 Input level The ‘x-axis’ of the graph.
2 Output level The ‘y-axis’ of the graph.
3 This portion of the graph is pre-threshold and is unaffected by compression,
that is, with a gradient of 1:1.
4 This portion of the graph is post-threshold and shows the effects of
compression. The gradient is the same as the compression ratio.
5 Threshold The point where the gradient changes and where compression
starts to be applied.
6 Graph with no ratio applied, that is, 1:1 gradient. (What you put into the
compressor, you get out.)
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4
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2
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No ratio applied
With ratio applied
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Threshold
The following diagram shows the affect on the compressor graph of adjusting threshold.
Knee type
There are three knee types as follows, which are illustrated in the following diagram:
• Hard knee Compressor immediately applies gain reduction at selected ratio once
attack time has elapsed.
• Medium knee Intermediate knee type.
• Soft knee Compressor, starting from slightly before threshold, gradually makes
the transition to applying gain reduction at selected ratio.
Graphs showing the three knee types. Note that hard knee has hardly any curve at all,
while the knee becomes noticeably more rounded in soft knee mode.
Item Description
1 Threshold: The point where the gradient changes and where compression
starts to be applied.
2 A threshold reduction will move the threshold point left, as shown in the
example above (green line). Less signal is passed 1:1.
3 A threshold increase will move the threshold point right, as shown in the
example above (yellow line). More signal is passed 1:1.
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2
3
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Compressive display types
With a signal running through the compressor, a coloured line on the graph follows the
contour of the shaded graph area. The line’s colour changes according to which of the
three signal levels it is at.
• Uncompressed If signal doesn’t reach threshold (point where gradient changes),
the line is green. As the threshold is not exceeded, the signal is uncompressed.
• Within knee area If signal goes into knee area to point where gradient changes
(more obvious with medium and soft knees), compression starts to be applied and
line colour changes to yellow.
• Full compression If signal reaches the point where gradient changes (over-
threshold), full compression at selected ratio is applied and line colour changes to
red.
Typical graphs showing the line representing the signal level as it follows the contour of
the compressor envelope and changes colour as it passes through the knee
Gate
While the dynamic section is addressing the gate, all of its controls are enabled except
the make up control knob and the MODE and KNEE buttons.
Gate controls for the input channels on the control surface and GUI
Uncompressed Within knee area Full compression
D zone
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Item Control Function
1 ON switch Enables gate in the signal path. When switched off,
gate is bypassed. (Both the comp and gate switches
can be on at the same time.)
2 listen LED To aid set up, the gate has a side chain listen that
sends the side chain onto a solo bus. The side chain
listen LED indicator illuminates to warn you that
soloed material is from the side chain, and not the
main channel. For information on the side chain, see
“Side chain” on page 296.
3 threshold control
knob
Sets signal level at which gate opens. Range is from
-50dB to +25dB.
4 hold control knob Minimises chattering in conjunction with internal
hysteresis. Once the signal is detected as below
threshold, this defines a waiting period before the
gate starts to close. Range is from -0.005s to 2.000s
(seconds).
5 Up/down select
buttons
Swap dynamic section control from compressor to
gate, and vice versa.
6 ratio/range/
[range] control
knob
On the gate, this control adjusts the amount of gain
reduction applied to the signal below threshold.
Controls the maximum gain reduction that is
possible. Range is from minus infinity (-∞) to zero.
7 attack control
knob
Adjusts time taken for gate to open after an over-
threshold signal. Range is from 0.02ms to 20ms
(milliseconds).
8 release control
knob
Adjusts time taken for gate to close after programme
material falls back below threshold. Range is from
-0.005s to 2.000s (seconds).
9 Graph Shows the effects of adjusting the gate’s parameters.
10 Meter The gate meter mimics the gate meter at the top of
the input channel’s fast strip (see “Input metering” on
page 282).
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Side chain
You can manipulate the side chain filter from the side chain section (channel strip and
GUI). The side chain filter is a swept band pass type, which acts on the dynamics side
chains of the compressor and gate, and covers the full audio spectrum.
Side chain controls for the input channels on the control surface and GUI
Item Control Function
1 IN switch Switches the side chain filter into the signal path.
2 freq control knob Adjusts the side chain filter frequency in the range
50Hz to 15kHz. (Visually, this moves the envelope on
the graph left or right.)
3 WIDTH button Changes the filter Q. There are three options, and
the effects of each are shown in the side chain graph
(see above). This is only enabled when the side chain
filter is switched on.
4 MENU button Opens the Select Side-Chain Source window from
which you can select the side chain source for the
selected input channel. Pressing this button with the
Select Side-Chain Source window open, closes the
window.
Graphs showing the effects of the
three filter Q options, selected via the
WIDTH button
Gate
Compressor
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5 LISTEN/[LSTN]
switch
Places the side chain pushbutton onto the channel
filter bus, allowing the audio signal to be monitored
via headphones. This, effectively, replaces the
channel solo audio path with a post-filter
(pre-dynamic) signal.
6 Graph Shows the effects of the side chain filter on the
signal.
7 Side chain source
field
Shows you where the side chain of the
compressor/gate is sourced from. If you see the text
“Unassigned” here, it means that a source hasn’t
been assigned.
8 source button Opens the Patching screen, so that you can select
the sidechain source.
Item Control Function
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Insert
Input channel insert section provides a send and return out of the signal path, primarily
so that an effects device can be added to the signal’s processing. The send destination
and return source may only be set from the GUI screen, although the INS switch can
be found on both the GUI and also in each input fast strip. This section is optional and
assigned on a channel-by-channel basis.
Insert controls for the input channels on the control surface and GUI
Item Control Function
1 INS switch Connects (inserts) returned programme material to
the channel signal path, provided both the insert send
and insert return points haves been assigned.
2 insert return field Shows you the source of the insert return.
3 insert send field Has a drop-down list, which shows the destination(s)
of the insert send.
4 assign LED Green LED that illuminates to show that an insert
return point is patched.
5 dest button Opens the Patching screen from where you can
select the destination of the insert send.
6 source button Opens the Patching screen from where you can
select the source of the insert return.
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EQ (E zone)
The input channel equaliser (EQ) is a four-band sweep parametric EQ (PEQ) that allows
tonal control of the input signal via the parametric EQ section, or E zone, in the input
channel strip. The four bands are treble, hi-mid, lo-mid and bass, with an additional
three shelving modes available for treble and bass. Any combination of the four bands
can be used to control the signal, although only one band can be adjusted in the E zone
at any time.
Each input fast strip contains the EQ on/off switch and quick access buttons for channel
and band selection.
The E zone contains all of the PEQ controls, along with a shelving mode selection button
and another set of band selection buttons.
EQ controls for the input channels on the control surface and GUI
Item Element Description
1 EQ switch Switches EQ on/off.
2 LEDs Red/blue EQ on/off status indicators, illuminate when
their associated band is contributing to the EQ’d
sound.
3 Up/down arrow
buttons
Band selection buttons, cycle through the bands,
changing selection in the E zone accordingly.
4 gain control knob Adjusts signal gain in the range -16dB to +16dB. On
the graph in the EQ processing area (GUI channel
strip), causes the envelope to move up/down.
5 width control knob Adjusts the signal bandwidth in the range 0.1 Oct to
3.0 Oct. On the graph in the EQ processing area (GUI
channel strip), causes the base of the envelope to
widen. (Not available for treble and bass shelving
modes.)
E zone
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In the GUI channel strip, the EQ processing area (shown below) displays all four bands
simultaneously and has a graph that shows a colour-coded EQ envelope for each
selected band. Here, you can view the settings of the four bands simultaneously. The
GUI also shows the ranges available for each control knob and indicates the active
band, which is distinguished by its cream-coloured background.
EQ controls for the input channels in the GUI channel strip. Shows the treble and bass
modes, selected via the SHAPE buttons.
6 freq control knob Adjusts signal frequency. The range is band-
dependent (see “Main input channel functions” on
page 364). On the graph in the EQ processing area
(GUI channel strip), this control causes the envelope
to move left/right.
7 SHAPE button Changes shelving mode on treble and bass bands.
For recommended usage, see Table 18
“Recommended band mode usage” on page 301. For
a description of each mode, see “Description of the
input channel EQ modes” on page 345.
Item Element Description
8 Graph Shows the EQ envelope (see “EQ graph” on
page 301).
9 Bright background Highlighted section indicates active band.
10 Icon Represents the shape of the signal’s envelope. Note
how the treble modes point to the left and the bass
ones to the right.
11 Text “OFF” is displayed when the EQ is switched off.
Item Element Description
Treble and bass
shelving modes
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The following table illustrates the recommended uses of the treble and bass shelving
modes.
Table 18: Recommended band mode usage
EQ graph
This section illustrates the use of the EQ gain, freq and width control knobs.
Gain
Adjusting the gain (gain control
knob) changes the height of the
envelope. The diagram right
shows the graphs at minimum
(left) and maximum gain. Note
how the envelope ‘flips’ about
the origin, which is at 0dB.
Frequency
Adjusting the frequency (freq
control knob) changes the
horizontal position of the
envelope.
Band Mode Best
Treble Bright On single source material
Treble Classic All-round EQ
Treble Soft For gentle shaping of pre-mixed material
Bass Deep On single source material
Bass Classic All-round EQ
Bass Warm For gentle shaping of pre-mixed material
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Width
Adjusting the bandwidth (width control knob) changes
the width of the envelope.
What the graph colours represent
Any combination of EQ envelopes for the
four bands can be displayed, and each one
is represented by a different colour.
Red = bass
Yellow = lo mid
Green = hi mid
Blue = treble
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Mixes
Each input channel can send a variable contribution to each of the 16 aux buses (aux
sends) and up to 16 matrix buses (mtx sends). The buses are controlled in pairs via
mix controls that give continuous adjustment (in the range +6dB to off) of sub group
levels sent to matrix mixes. The controls in the mix section (mix and master bays)
include level/pan and level control knobs for each bus pair, whose function depends
on the current bus mode in operation. When a bus pair is stereo linked, the AFL button
(input fast strip only) is activated; although it is only enabled when you switch it on.
Aux and matrix mix buses for the input channels on the control surface and GUI
Item Control Function
1 level/pan and
level control knobs
After the bus mix controls have been assigned to a
mix pair, these controls offer control of relative
contribution levels onto the active buses. level/pan
operates odd numbered controls, while level
operates the even ones. For more information, see
Table 19 “Function of mix control knobs” shows their
combined operation.
2 ON switches Switch bus assignment on/off.
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The mix section — in both the mix and master bays — controls a bank of eight buses
per selected input channel. While, the one in the input fast strips controls the currently
selected channel bus.
In the GUI channel strip, the mix bus (sends) processing area has a similar layout to
the mix section (mix and master bays).
However, the input channel
overview gives a simultaneous
display of the status of all buses.
It displays the levels sent to the
buses, shows which are on/off and
whether they are pre- or
post-fader. For details, see
diagram right.
Note: Although the ramps in the
diagram appear to be pixelated,
this is not the case when these
are viewed on the actual GUI.
This is because the PRO Series
GUI incorporates anti-aliasing to
ensure its displays are crisp and
clear.
Operators sometimes need to
access main faders and multiple
auxes at the same time. The ‘flip’
option places aux level controls
onto the pan control knobs/faders
(see Figure 11 “Mix bus
navigational controls” on
page 64).
Desired buses are flipped using quick access buttons and the FLIP button. When input
faders are flipped the LCD switches all change colour to match bus colour (red/yellow/
blue/green) or become inverted text to indicate faders no longer function in the normal
way on the main channel path.
You can edit the levels on the GUI using drag.
3 PRE buttons Change signals sent to group buses from post-fader
to pre-fader. When button is on, signal is pre-fader.
4 AFL switch This after-fade listen stereo switch, only operates on
the stereo pan and level style buses and lets the user
accurately place the stereo image on individual
output channels.
Item Control Function
1 Mix buses are brightly coloured when they are on.
2 Mix buses are dimmed when they are off.
3 Transition point of bus level where solid colour
changes to translucent, indicating 0dB. The level
increases from left to right.
4 Ramp style indicates sends are post-fader.
5 Bar style indicates sends are pre-fader.
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After selecting a bus, control is via one of the following methods:
Once the bus mix controls have been selected, they offer rotary control of relative
contribution levels onto the buses operating as shown in the following table.
Table 19: Function of mix control knobs
Bus type Control
Mono aux/matrix Level from fader; ON and PRE active
Stereo aux/matrix Level from fader; pan from main pan; ON and PRE
active
Stereo aux/matrix Level from fader; pan from main pan; ON and PRE
active
Mono group Post-main fader; ON active
Stereo group Post-main fader and pan; ON active
Mono mix minus Post-main fader; ON means ‘minussed’ from the bus
Stereo mix minus Post-main fader and pan; ON means ‘minussed’ from
the bus
Bus type
level/pan
control knob
function
level control
knob function Description
Mono Level Level Independent left and right level
adjustments (both +6dB to OFF).
With ON and PRE switching (plus
LED indication).
Stereo Pan Level Pan adjustment is constant power
law at -3dB. Level adjustment is
continuous (+6dB to OFF). With
ON and PRE switching (plus LED
indication).
Subgroup N/A N/A Both levels are disabled. 0dB only
for group buses, mix and main
buses. With ON switching (plus
LED indication).
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Master controls, solo/mute and fader
Towards the bottom of each input fast strip are the masters section and pan control,
LCD select button, mute and solo, and the input fader.
Masters sections and pan control
The masters controls have extensive support on both the control surface and the GUI.
In general, there are three routing switches to the master buses and also pan control.
Pan provides master panning as three-way or two-way (depending on SIS™ setting)
and also provides two-way panning for any stereo mix groups, subgroups etc. (When
used for monitor applications, aux, mix and main buses are controlled from the channel
master pan and fader. AFL solos also operate as a default from the main solo switch.)
Masters and pan controls for the input channels on the control surface
Item Control Function
1 SIS switch This spatial imaging system (SIS) switch, enables
SIS™ mode. This mode operates with the pan and
mono level/SIS image control knobs, and acts as
an LCR master bus enable, overriding stereo and
mono master bus assignments. However, their status
remains in memory, so that when SIS is disengaged,
the mono and stereo settings can return. Pressing
SIS alters the gradations of the mono level/SIS
image control knob on the GUI.
2 ST switch This stereo switch connects post-fader channel signal
to master stereo bus via pan control.
3 pan control knob Adjusts the relative levels sent to a left-right bus pair
or the master left-centre-right (LCR) buses. In SIS™
mode, it can also control the ‘image’ to give a
constant power crossfade from LCR to stereo.
4 MON switch This mono switch connects post-fader channel signal
to mono master bus.
5 mono level/SIS
image control
knob
In mono mode, this dual-function control knob acts
as a mono level control knob to adjust the mono
signal level. In SIS™ mode, it becomes a SIS image
control knob that modifies pan control knob
operation to place the channel within a three-speaker
system (see “Stereo panning” on page 131).
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On the GUI, a masters section — similar to the masters section in the channel strips —
is at the bottom of the input channel overview (GUI channel strip). From here, you
can open the masters processing area, which also has a masters section with the same
functionality, and in addition has mute and solo buttons, and a fader.
Input channel masters controls on the GUI
For more details, refer to “Stereo panning” on page 86 and “Spatial imaging system
(SIS™)” on page 313.
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LCD select button
The LCD select buttons in the input fast strips
are used for input channel navigation and
group selection. They also provide useful
feedback for the user.
For more information on navigation, see
“Navigating the input channels” on page 59.
Mute, solo and safes
This section contains the MUTE and SOLO buttons, and three safe LEDs (mute safe,
auto safe and fader safe).
Mute, solo and safes for the input channels on the control surface and GUI
Item Control Function
1 MUTE button Mutes all post-processing signals exiting the channel.
In addition to scene recall, it can also be remotely
muted from the auto-mute masters.
2 SOLO button Activates signal routing to the monitor A section of
the control centre by sending the input channel signal
to PFL mono and AFL stereo buses. The solo system
is auto-cancelling, so that each new solo cancels the
last one. Input solos override any active VCA solos.
This button is a latching type. Give a short press to
latch it and a long press to self-connect when it is
released.
3 B button This solo button (GUI only) changes the operation of
the SOLO switch so that it routes signals to the
monitor B section of the control centre.
1
3
2
1
2
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Fader
Each input fast strip has a motorised fader, which is replicated in each input fast strip
on the GUI and also in the masters processing area (GUI channel strip). The fader
controls the channel signal level and provides instant feedback of level settings.
The fader in the input fast strips of the 12-channel input bay can also provide level
control and feedback for aux and matrix bus contributions in flip mode.
Input channel faders on the control surface and GUI
Fader
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Chapter 31: Outputs
This chapter shows you the areas on the control surface that are used to manage the
outputs and also describes their function. There are four type of output: auxes,
returns, matrices and masters.
The structure of this chapter is loosely based on the signal path of the output channels
and also the processing areas, which are opened via the output channel overview
displays in the GUI channel strip.
Output channel routing
The following table shows the approximate signal path of each output type.
* Order can be swapped (see “Processing order” on page 329).
# Includes side chain section.
Channel controls Aux Return Matrix Master
Configuration See
page 327
See
page 327
See
page 327
See
page 327
Direct input See
page 328
N/A See
page 328
See
page 328
*#Dynamics (dual
compressor)
See
page 320
N/A See
page 320
See
page 320
Insert See
page 329
N/A See
page 329
See
page 329
*EQ See
page 321
N/A See
page 321
See
page 321
Mixes Matrix sends
only (see
page 329)
Matrix sends
only (see
page 329)
N/A N/A
Master controls,
solo select and
fader
See
page 330
N/A See
page 330
See
page 330
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Output channel areas on the control surface
The mix and master bays house the areas on the control surface pertaining to the
outputs (see diagram below).
The mix bay houses the output fast zone, which contains two banks of output fast
strips. This bay also contains a channel strip, mix (sends) section and navigation area,
which are replicated on the master bay.
The GUI has a similar configuration to the control surface, whereby the GUI screen in
the mix bay has an output fast zone, and both GUI screens have a channel strip.
In general, operation of the outputs is via the mix bay, although this is configuration
dependent.
Areas on the control surface concerned with the output channels
Pan and fader ‘flip’
Channel strip
and mixes
(master bay)
Channel strip
and mixes
(mix bay)
GUI control areas
Output fast
zone
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Output fast strips, channel strips and mix buses
While the output fast strips on the control surface provide only limited control, this is
greatly enhanced by the channel strip.
Master strips
Page
319
Page
325
Page
318
Page
319
Page 329
Page
330
E zone
(page 321)
Page
328
Page
329
page
320
D zone
(page 320)
Page
329
Channel
strip
Mix
buses
Output fast
strip
Page
319
Page
325
Page
319
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Outputs on the GUI
On the GUI, the output fast zone (mix bay only) merely provides feedback, such as
signal level, solo on/off status etc., whereas the output ‘overview’ displays (for each
output) in the channel strips provide limited control. Detailed control is provided by the
processing areas.
Only the Overview GUI screen (default) contains output fast strips (see “GUI” on
page 30).
Output fast zone (Overview screen)
The lower-right corner of the
Overview screen has two rows of
output fast strips. Each row
displays a bank of eight outputs, of
which there are three types (aux,
return and matrix).
On the GUI, output bank selection is
via a column of buttons to the right
of both banks, which replicate the
ones on the control surface’s mix
bay (to right of ouputs).
As the two rows are independent of
each other, you can assign the
same bank to both of them.
For details of the contents of each
output fast strip, see “Mute, safes,
level and solo” on page 325.
GUI channel strips
Similarly to the inputs, when an output channel is selected, its ‘overview’ appears in the
GUI channel strip, as illustrated in the figures on the following pages. These overview
displays provide limited controls and status information, and give access to processing
areas.
The following processing areas are available from ‘overview’ displays in the GUI channel
strip.
Channel controls Aux Return Matrix Master
Insert only N/A Yes N/A N/A
Configuration only N/A Yes N/A N/A
Insert and
configuration
Yes N/A Yes Yes
Compressor Yes N/A Yes Yes
EQ Yes Yes Yes Yes
Buses Yes (matrix
only)
Yes (matrix
only)
N/A Yes (matrix
only)
Solo, mute, safes
and fader only
N/A N/A Yes N/A
Masters and solo,
mute, safes and
fader
Yes Yes N/A Yes
PRO3
PRO6 and PRO9
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For details of how to navigate the GUI channel strips, see “Navigation via the GUI” on
page 68.
Figure 35: Processing areas available from the aux send overview display
EQ
Matrix buses
Insert and
Configuration
Masters
Compressor
aux send overview
This section is not
available on the
PRO3, as it only has
matrices 1 to 8
Although mtx
sends 9-16 are
not shown
(PRO6 and PRO9
only), their
display is similar
to above
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Figure 36: Processing areas available from the aux return overview display
Configuration
Matrix buses
aux return overview
EQ
Insert
Masters
This section is not
available on the
PRO3, as it only has
matrices 1 to 8
Although mtx
sends 9-16 are
not shown
(PRO6 and PRO9
only), their
display is similar
to above
Outputs on the GUI 317
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Figure 37: Processing areas available from the matrix overview display
Fader
EQ
Insert and
Configuration
Compressor
matrix overview
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Figure 38: Processing areas available from the master overview display
Output metering
Signal level monitoring of the outputs is only available on the GUI via both default
screens, Overview and Meters. These screens have meters, which look similar to the
ones in the input fast strips on the control surface. For more details, see “Input
metering” on page 282 and “GUI” on page 30.
EQ
Insert and
Configuration
Fader
master overview
Compressor
Matrix buses
This section is not
available on the
PRO3, as it only has
matrices 1 to 8
Although mtx
sends 9-16 are
not shown
(PRO6 and PRO9
only), their
display is similar
to above
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Talk
There is a talk switch in each
output fast strip and also on the
output ‘overview’ displays in the
GUI channel strip.
If the TALK/[TLK] switch in the
talk mic section is active, the
talk buttons will illuminate to
prompt the operator to select a
bus that the talk signals should
be routed to. These are also
used to set up a talk group after
pressing one of the talk/osc
routing panel buttons.
Dynamics and EQ
The control surface has a combined dynamics and EQ section that contains DYN and
EQ on/off buttons, and a listen LED (yellow) that illuminates when listen is active in
the output processing area to show when a channel has its dynamic side chain soloed.
In the GUI channel strip overview display the aux, matrix and master outputs each
have a compressor section and an EQ section (both are highlighted in the diagram
below). Return outputs only have an EQ section. Clicking within either of these
sections will open their respective processing areas, which are described in the
following subsections.
Figure 39: Dynamics and EQ areas for the output channels on the control surface and
GUI
Compressor section
EQ section
D zone
E zone
1
2
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Compressor (D zone)
For the outputs, the dynamic section (D zone) only has a compressor in the output
channel signal path. As the D zone is also used for the gate on the input channels,
some controls may be redundant.
The output channel compressor has five styles — corrective, adaptive, creative, vintage
and shimmer — which are selectable via the MODE button. Each has a distinctive
appearance in the GUI channel strip. While the dynamic section is addressing the
compressor, all of its controls are enabled except the hold control knob.
For details of the compressor graph, see “Compressor graph” on page 292.
The side chain is similar to the one used for the input channels, see “Side chain” on
page 296.
Compressor sections for the output channels on the control surface and GUI
Item Control Function
1 DYN switch Enables the compressor in the signal path. When
switched off, compressor is bypassed. See
Figure 39 on page 319.
2 listen LED To aid set up, the compressor has a side chain listen
that sends the side chain onto a solo bus. This side
chain listen LED indicator illuminates to warn you
that soloed material is from the side chain, and not
the main channel. See Figure 39 on page 319.
D zone
Shimmer
Vintage
Creative
Adaptive
Corrective
4
9
8
7
6
3
5
10
9
6
8
3
7
5
10
11
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EQ (E zone)
For tonal control of the aux, matrix and master output signals, the output channel EQ
has the option of a six-band sweep parametric EQ (PEQ) or an assignable graphic EQ
(GEQ).
PEQ
The parametric EQ section (E zone) of the channel strip (mix and master bays) allows
tonal control of the input signal. The E zone contains all of the PEQ controls, along with
a shelving mode selection button and another set of band selection buttons.
All of the outputs, except returns, have six-band PEQs. Two of the six bands have three
shelving modes each, while another has just one. Any combination of the six bands can
be used to control the signal, although only one band can be adjusted in the E zone at
any time. However, the EQ processing area (GUI channel strip) displays four bands at
any time, and also has navigational controls.
The returns have a four-band PEQ, which is similar to that used on the inputs. For
information, see “EQ (E zone)” on page 299.
3 threshold control
knob
Sets the signal level above which gain reduction
starts to be applied. Range is from -50dBu to
+25dBu.
4 comp/gate
up/down select
buttons
These select buttons swap dynamic section control
from compressor to gate, and the reverse.
5 make up control
knob
This compressor gain control compensates for the
reduced loudness of a compressed signal. Range is
from 0dB to 24dB.
6 KNEE switch This compressor control controls how compressor
starts to apply gain as the signal goes through the
threshold (see “Compressor graph” on page 292).
For more information, see Table “Compressor graph”
on page 292 and “Knee” on page 342.
7 ratio/range/
[ratio] control
knob
This compressor control adjusts the amount of
compression applied to signals above threshold.
Range is from infinity (∞) to 1:1. When set to
maximum (1:1), sets compressor to limiter mode.
8 attack control
knob
This compressor control adjusts the time it takes the
compressor to respond after an over-threshold signal.
Range is from 0.2ms to 20ms (milliseconds).
9 MODE switch Selects compressor mode from the five compressor
types available (see “PRO Series compressor modes
(dynamic)” on page 341).
10 release control
knob
This compressor control adjusts the time it takes the
compressor to recover after programme material falls
back below threshold. Range is from 0.05s to 3.00s
(seconds).
11 Meter Compressor ‘gain reduction’ meter.
Item Control Function
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PEQ sections for the output channels on the control surface and GUI
Item Control Function
1 Up/down buttons These are band navigation buttons (see “Navigating
the PEQ output bands” on page 324). They are also
used in conjunction with the blue adjacent LEDs to
show which band is currently selected. Illuminated
up arrow means that band 5 is selected, and
illuminated down arrow means that band 2 is
selected.
2 LEDs These four blue LEDs illuminate to show the current
band selection. Used in conjunction with the up and
down buttons, they show — from the bottom LED
upwards — when band 1, 3, 4 or 6 is selected.
E zone
Bands 1, 2 and 6 shelving modes
2
1
34 5
6
635
7
8
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GEQ
The GEQ is similar to the ones found in the Graphic EQs screen and can also be
operated using the assignable controls. For information, see Chapter 15 "Graphic
Equaliser (GEQ)" on page 157.
>> To open the GEQ window
1 Select the output. Its ‘overview’ display will appear in the channel strip.
2 In the GUI channel strip, open the EQ processing area (see “To select a
processing area” on page 63).
3 gain control knob Adjusts signal gain in the range -16dB to +16dB. On
the graph in the EQ processing area (GUI channel
strip), causes the envelope to move up/down,
inverting as it passes the origin.
4 width control knob Adjusts the signal bandwidth in the range 0.1 Oct to
3.0 Oct. On the graph in the EQ processing area (GUI
channel strip), causes the base of the envelope to
widen. (Not available for shelving modes.)
5 freq control knob Adjusts signal frequency. The range is band-
dependent (see “Main input channel functions” on
page 364). On the graph in the EQ processing area
(GUI channel strip), causes the envelope to move
left/right.
6 SHAPE button Changes the shelving mode on treble and bass bands.
For a description of each mode, see “Description of
the output channel EQ modes” on page 347.
7 Shelving symbol Diagrammatic representation of the shelving
envelope.
8 Graph EQ envelope graph (see “EQ graph” on page 325).
When “OFF” is displayed, EQ is switched off.
Item Control Function
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3 Click GEQ. in the processing area.
4 Click a non-control area of the GEQ image (shown
right) to open the GEQ window.
>> To close the GEQ window
In the GEQ window, click CLOSE.
Navigating the PEQ output bands
You can change band selection by
clicking the UP/DOWN buttons in the EQ
processing area. This will change
selection by one band at a time.
Yellow rectangle
shows which four
bands are currently
displayed. Bands are
shown in descending
order from top to
bottom (Band 6 is
top).
Band navigation
buttons
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EQ graph
The controls in the output EQ sections, that is, the EQ gain, freq and width control
knobs, have a similar functionality to the ones in the input EQ sections. For details, see
“EQ graph” on page 301.
EQ graph containing all six bands
Mute, safes, level and solo
Each output fast strip (control surface and GUI) has controls for muting, soloing, safes
and output signal level control. This is supported on the GUI in the appropriate
processing area. In addition, the channel strips (control surface and GUI) have the full
complement of safes.
Mute, safes, level and solo areas for the output channels on the control surface and GUI
Red (Band 1)
Blue (Band 5)
Green (Band 4)
Yellow (Band 3)
Orange (Band 2)
Magenta (Band 6)
GUI channel strip
Mute, solo and fader
processing area
GUI output fast strip
1
9
4
8
10
11
12
13
1
2
3
4
8
5
2
67
567
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Item Control Function
1 MUTE switch Mutes all post-processing signals leaving the channel.
(In addition to scene recall, muting can be remote
from the auto-mute masters.)
2 LEDs These safe LEDs illuminate when their associated safe
is on.
3 level control knob Adjusts the output signal level. In the masters
section (master bay), this is a fader.
4 SOLO switch Activates signal routing to the monitor A section of
the control centre.
5 FADER/[FDR]
switch
Switches fader safe on, so that the fader is removed
from scene recall.
6 MUTE/[MTE]
switch
Switches mute safe on, so that mute is removed from
the scene recall and auto-mute action.
7 AUTO/[AUT]
switch
Switches auto safe on, so that the channel is removed
from scene recall (this does not affect the action of
the auto-mutes and VCA control groups) and control
is removed from VCA control group faders.
8 Fader Adjusts output signal level. Has the same function as
the level control knob (see item 3).
9 B switch (GUI
only)
This solo B switch changes the operation of the SOLO
switch so that it routes signals to the Monitor B
section of the control centre.
10 Meter Output signal level meter.
11 Red on/off
indicator
Illuminates when mute is on.
12 Blue on/off
indicator
Illuminates when solo B is on.
13 Yellow on/off
indicator
Illuminates when solo on.
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Output channel configuration controls
There are a number of output channel controls that are loosely termed ‘channel
configuration’ controls. The following table shows the configuration controls available
on each output and references the pertinent section within this chapter.
Table 20: Output channel configuration controls
Output channel ID (GUI only)
You can change the channel name in the GUI
channel strip. This can be done in the output
channel overview or in any of the processing areas.
To change the background colour of the output channel name field (green in the
example shown) and/or the channel name, open the Output Channels Sheet screen
of the GUI menu.
>> To change the channel name in the GUI channel strip
Click within the channel name field and type in the new channel name (see “Text
editing” on page 57).
Output channel source/destination (GUI only)
The channel’s destination is shown in the text field
of the configuration processing area. If no
destination has been selected, it will contain the
text “Unassigned” (as shown right). You can select the destination for this channel by
clicking dest, which opens the Patching screen (see Chapter 8 "Patching" on page 71).
For routing information, see Table 25 “Navigating to the Patching screen” on page 418.
Channel controls Aux Return Matrix Master Refer to
Output channel ID Yes Yes Yes Yes Page 327
Output channel
source/destination
Destination Source Destination Destination Page 327
Stereo linking Yes Yes Yes Yes Page 328
Gain swap N/A Yes N/A N/A Page 328
Mix Yes N/A N/A N/A Page 328
Input mode N/A Yes N/A N/A Page 328
Link fader N/A N/A Yes N/A Page 328
Bus trim Yes N/A Yes Yes Page 328
Direct input Yes N/A Yes Yes Page 328
Safes (EQ,
dynamics, mic,
auto, mute and
fader)
All six Five only
(excluding
dynamics)
All six All six Page 329
Insert Yes N/A (on
separate
processing
area)
Yes Yes Page 329
Delay Yes N/A Yes Yes Page 329
Processing order Yes N/A Yes Yes Page 329
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By clicking the recorder button (returns only) you can set the input source to tape
returns.
Stereo linking (GUI only)
The linking section of the configuration processing
area has a LINK switch for linking the selected
output channel to the adjacent (higher numbered)
output channel. The LINK OPT. button opens a
Stereo Linking Options window from where you can select the linked parameters.
For more information, see Chapter 10 "Stereo Linking" on page 127.
Gain swap (GUI only)
Only return has the gain swap facility. Clicking
GAIN SWAP swaps from remote (stage box) gain
to digital trim (console gain), and vice versa. For
more information, see “Mic amp input gain
(preliminary input processing)” on page 286.
Mix mode (GUI only)
The mix section (aux only) has a MODE button for
scrolling through the three mix modes, that is, mix,
mix minus and group.
Input mode (GUI only)
The button in the input mode section (return only)
time aligns the return channel with the input
channels.
Fader linking (GUI only)
The link fader section (matrix only) has ST and
MON buttons for linking the matrix channel fader to
the stereo or to the mono master faders,
respectively. Control of the stereo master faders
reverts to the highest fader.
Bus trim (GUI only)
The bus trim section (all output channels except
return) has a control for fine adjustment of the
gain. Range is from -12 dB to +6 dB.
Direct input (GUI only)
The direct input section (all output channels
except return) provides an internal connection to
effects etc. or an external input into the output
from an effect or line I/O unit. It lets you take a
signal directly out of a defined point in the input
channel’s signal path and route it to either an
internal assignable effect or to one of the physical
outputs (a physical connection at one of the line I/O
boxes). This function is optional and assigned on a
channel-by-channel basis.
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This section is deliberately distanced from main channel panel controls because it is a
limited resource and unused on many channels.
Selection of signal path source can only be carried out via the GUI.
This section has similar functionality to the direct output section on each input
channel, see “Direct input (GUI only)” on page 328.
For routing information, see Table 25 “Navigating to the Patching screen” on page 418.
Safes
Each output channel (except return) has six types of output channel safes that each
each protects a specific control/area from the automation system.
The safes on the return channel are input channel types, of which there are only five
available (there is no dynamics).
You can only operate the safe switches via the channel strips (control surface and GUI),
which also provide on/off status information. The status of some of the safes is
displayed via LEDs in the output fast strips and master strips on the control surface.
For more information on what areas are protected by each safe, see Appendix
M "Parameters Protected By Safes" on page 469.
Insert (GUI only)
You can configure the send and return points of the
aux, matrix and master outputs in the insert
section of the configuration processing area. The
returns have a separate insert processing area,
which has the same function.
For routing information, see Table 25 “Navigating to
the Patching screen” on page 418.
Output channel delay (GUI only)
Similarly to the input channels, all of the output
channels (except returns) have a delay that can be
incorporated into the signal path. However, this
can be a much larger delay, being in the range 0ms
to 500ms (milliseconds). For details, see “Input
channel delay (GUI only)” on page 284.
Processing order
Similarly to the input channels, you can change the processing order on all of the
output channels (except returns). For details, see “Processing order” on page 288.
Mixes
Each of the aux, return and master output channels can send a variable contribution to
the mixes on each of the matrix buses. The buses are controlled in pairs via mix
controls that give continuous adjustment (in the range +6dB to off) of sub group levels
sent to matrix mixes. The controls in the mix section (mix and master bays) include
level/pan and level control knobs for each bus pair, whose function (auxes only)
depends on the current bus mode in operation.
The mixes on the outputs are similar in functionality to inputs, except there is no after
fader listen. For details, see “Mixes” on page 303.
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Masters
For each output, the masters section (channel strip of the mix and master bays)
functions in the same way as for the inputs (see “Master controls, solo/mute and fader”
on page 306). The same also applies to fader (see “Fader” on page 309).
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Chapter 32: GUI Menu
The GUI is a very powerful multi-functional tool that forms the core of the PRO Series
Control Centre. It gives you total control and monitoring of the operating environment,
enhances control surface operation (you can even operate the PRO Series by GUI-only)
and allows the use of internal and external devices. To facilitate this the GUI
incorporates a simple-to-use GUI menu.
The GUI menu presents you with a list of options from which to choose, depending on
your requirement. The following lists some of the functions that the GUI menu
provides:
• Configuration Configure the routing, associations and the names and colours of
channels, groups, graphic EQs and internal effects, set up for multi-console
operation, set up the connected devices etc.
• Navigation Select the channels, buses and groups you want, go quickly to a GUI
screen display, go to recently opened screens, move through the scenes in a show
and go to the patching screens you want.
• Management Manage show files (internal and external), automation and the
monitoring system.
• User and operating preferences Adjust GUI screen brightness and contrast,
select delay compensation, select fader flip etc.
• Information View current software information.
• Overcoming a faulty GUI screen Should a GUI screen fail, you can re-map it to
a different bay.
• Diagnostics Check at-a-glance how your system is performing.
• Security Lock the screens to prevent unauthorised access.
• Shutdown sequence Shut down the control centre properly.
• Upgrading the software Install the very latest version (or any previous version)
of PRO Series software.
For details of how to use the GUI menu, see “Using the GUI menu” on page 56.
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Elements of the GUI menu
This section explains the elements that comprise the GUI menu.
Item Element
1 A graphic that represents the function of its associated option.
2 Option name.
3 When you move the screen cursor over an option its background will
change to blue to let you know that it will be selected if you click on it.
4 A right-pointing arrow at the right of an option name shows that the option
has a submenu.
5 GUI main menu.
6 Submenus.
7 The background colour of each input and output channel, mix, group etc.,
will match its user-configured colour. (The ones in the diagram show the
default colour, which is green.)
1
2
3
5
6
7
4
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GUI menu flowchart
The GUI menu for each type of PRO Series Control Centre (and available submenus) are
shown in the following figures. Icons to the left of the options help to identify the
option type and aid navigation.
Figure 40: PRO3 GUI menu flowchart
Note: Only the
submenu for inputs 1
to 8 is shown right, as
the submenus for the
other inputs (9 to 48)
are similar.
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Figure 41: PRO6 GUI menu flowchart
Note: Only the
submenu for inputs 1
to 8 is shown right, as
the submenus for the
other inputs (9 to 56)
are similar.
GUI menu flowchart 335
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Figure 42: PRO9 GUI menu flowchart
Note: Only the
submenu for inputs 1
to 8 is shown right, as
the submenus for the
other inputs (9 to 80)
are similar.
Shows the PRO9 Control
Centre configured for 5.1
surround panning
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GUI menu options
The GUI menu, which can be opened from either GUI screen, presents you with a main
list of options that open specific screens or submenus, as shown in the following table.
Option Description/function
Default Opens the default display applicable to the GUI screen you are
operating (see “GUI” on page 30). If the GUI screen has been
mapped to the other bay, its default screen will match that bay
(see “Mapping a GUI screen to another bay” on page 398).
Files Opens the Files screen (see “Managing show files on the Files
screen” on page 210).
Input Channels Input channel option, which opens a submenu with the following
options:
• Input Sheet — lets you configure all of the input channels
(see “Configuring the channels, groups and internal units” on
page 251).
• 1-8 through to nn-nn (depending on PRO Series Control
Centre) — click one to open its associated bank of inputs, or
its submenu. Each submenu contains the eight inputs
belonging to its bank; click on one to select its channel.
Mix & Outputs Output channel option, which opens a submenu with the
following options:
• Output Sheet — lets you configure the output channels (see
“Configuring the channels, groups and internal units” on
page 251).
• Output channel options — click one to open the associated
bank of outputs (returns, auxes, matrices or masters), or
open the submenu. Each submenu contains the outputs
belonging to its bank; click on one to select its channel.
Control Groups Control groups (VCA/POP, auto-mute and talk) option, which
opens a submenu with the following options:
• Group Sheet — lets you configure each group (see
“Configuring the channels, groups and internal units” on
page 251).
• VCA Groups — click to open the VCA Groups screen, or
open the submenu, which contains an option each for the 12
VCA groups and eight POP groups; click on one to select its
group. See “VCA and POP groups” on page 177.
• Mute Groups — click to open the Mute Groups screen (see
“Auto-mute (mute) groups” on page 180).
• Talk Groups — click to open the Talk Groups screen (see
“Talk groups” on page 181).
Rack Units Internal units option, which opens a submenu with the following
options:
• Effects Sheet — lets you configure each ‘virtual’ GEQ and
internal effect rack unit (see “Configuring the channels,
groups and internal units” on page 251).
• Graphic EQs — opens the Graphic EQs screen (see “About
the Graphic EQs screen” on page 158).
• Effects — opens the Effects screen (see “Overview of the
internal effects” on page 163).
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You can access some of the screens directly from the primary navigation zone (see “To
open a GUI menu screen using a screen access button” on page 57).
Automation Automation option, which opens a submenu with the following
options:
• Automation — opens the Automation screen (see Chapter
20 "Scenes And Shows (Automation)" on page 197).
• Show Editor — opens the Show Editor screen (see “Show
editor” on page 117).
• Store Scope — opens the Store Scope screen (see “About
the Recall Scope screen” on page 213).
• Recall Scope — opens the Recall Scope screen (see
“About the Recall Scope screen” on page 213).
Preset Manager Opens the Preset Manager screen (see Chapter 24 "User
Libraries (Presets)" on page 235).
Monitors Opens the Monitors screen (see Chapter 14 "Monitors And
Communications" on page 143).
Diagnostics Opens the Diagnostics screen (see “Diagnostics” on
page 393).
Patching Opens the Patching screen (see Chapter 8 "Patching" on
page 71).
Preferences Preferences option, which opens a submenu with the following
options:
• General — opens the Preferences screen (see Chapter
27 "Changing The User Settings" on page 247).
• Linking — opens the Stereo Linking Default Settings
window (see “To set the global default stereo linking options”
on page 128).
• Admin — opens the administrator’s window. This is a
supervisor-only function, which is accessed by typing in a
password.
• Upgrade — opens a list of TAR files from which to choose
when updating the PRO Series Live Audio System’s software
(see “Updating your system” on page 410).
• Shutdown System — opens the shutdown message
window, which initiates an expedient shutdown of the PRO
Series Control Centre (see “To switch off the control centre”
on page 43).
Lock Locks the GUI (see “Security (locking mode)” on page 124).
Option Description/function
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Volume 5:Appendices
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Appendix A: Application Notes
This chapter provides more in-depth information on certain areas and functions of the
PRO Series.
Spatial imaging system (SIS™)
Although conventional consoles can be used for three-channel mixing, the methods for
doing so are complicated and unorthodox. This forces the engineer to work in
unaccustomed ways, limiting creative flexibility, and making use by visiting operators
impractical. The spatial imaging system (SIS™) has been developed to overcome this.
The following are just some of the advantages provided by SIS™:
• Backing vocalists can be panned slightly towards the centre cluster to improve
intelligibility, while keeping the featured vocal ‘front and centre’.
• Musical instruments can be placed in a conventional mix and then easily switched to
the centre for solos.
• In theatrical productions, SIS™ lets you pan an actor’s voice across three channels,
following their on stage movements. In stereo-only productions the centre output
can be used to provide a mono-to-mix-base feed activating a single ‘left + right to
centre’ switch.
• The ability of SIS™ to feed centre-panned signals equally to both left and right
outputs, as well as the centre, is particularly useful for distributing the load of high
energy, centre-panned sounds across all FOH loudspeaker arrays.
PRO Series compressor modes (dynamic)
This section aims to provide an understanding of the compressor modes contained
within the PRO Series Control Centre.
Description
The PRO Series compressors have five primary operating modes (only four on the
inputs). These change the signature (or shape) of the attack and release envelope
curves, interactions and timings. Before dealing with this in detail, some of the generic
terms are defined and explained:
Threshold
The threshold adjusts the operating point of the compressor. Signals that go over this
point, or over-threshold, will be affected by compressor action. Signals that stay below
threshold will not trigger any compression, although they may still be affected by
compression releases from previous over-threshold signals.
Ratio
The compression ratio control provides control of the amount of compression that is
applied to over-threshold signals. This is expressed as a ratio of signal level changes
from input to output. For example, when the compressor is set to 2:1, every 2dB input
level change will only generate a 1dB output level change (assuming the signal levels
are over-threshold).
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Attack
The attack control adjusts the time taken for the compressor to respond to an
over-threshold signal. The shape of the attack can be selected from one of the five
mode combinations mentioned above, making the compressor easily adaptable for a
wide number of creative and corrective applications.
Release
The release control adjusts the time the compressor takes to recover after the
programme material falls back below threshold. Both attack and release also respond
to changes in programme level that remain over-threshold. For example, a signal that
reduces in level, but remains above threshold will still trigger a release, but in this case
it will only be a partial release. This is because the compressor will still be required to
generate gain reduction, but now, as appropriate for the new lower signal level.
Knee
Most compression sounds more natural in soft knee mode. Soft knee compression blurs
the distinction between over-threshold and under-threshold signals, such that signals
that are a long way below threshold remain unaffected by compression, and signals that
near the threshold get compressed, but at greatly reduced ratios. When signals are
just over-threshold the compressor ratios are still somewhat reduced; it is only when
signals go well over threshold that the full ratio compression is applied. When using a
harder knee setting the compressors operate in a more clinical way with a more defined
transition between under-threshold and over-threshold; this is better suited to limiting
style compression.
Gain
The gain control provides adjustment of the make up gain so that the level of the
outgoing compressed signal can be matched to the incoming uncompressed signal. It
can also be used to drive the clipper hard (see “Soft clip level” on page 342) to produce
more pronounced effects.
Side chain filter
A band pass filter is provided that acts on the side chain signals. This can be used to
make the compression frequency selective. The controls for this are frequency,
adjustable from 50Hz to 15kHz, and bandwidth selectable as wide medium or narrow.
Additionally, there is a listen function that places the filtered side chain onto the solo
bus and a side chain filter in to activate or eliminate the filter action.
Soft clip level
When compression is used creatively with slower attack times, it is possible to generate
very large peak signals that can eat up headroom. When soft clip is activated the
compressor output (post-make up gain) is fed through a final fast acting soft clipper
circuit. This adds progressive gain reduction to any signals that exceed a threshold set
by the clip level control. When set sparingly, this can recover 3dB to 6dB of headroom
without introducing any undesirable audio artefacts. (In the past, limiters have been
employed for this function but their time constants are invariably intrusive on the
programme.) The high-speed nature of the soft clipping introduces no time related
artefacts. This is because it only acts during the transient peaks, when it produces
predominantly third harmonic distortion, which is very musical in nature.
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Compressor envelope modes
The five envelope modes, or signatures, are the key to the sonic character of the PRO
Series compressors, and they allow adjustment far beyond the normal capabilities of
simple attack and release settings. They largely fall into two application types:
1 Compressors that are good at capturing and controlling dynamic transients:
corrective mode and vintage mode.
2 Compressors that emphasise dynamic transients and provide creative control of
levels within a mix: adaptive, creative and shimmer modes.
The Vintage and Adaptive compressors tend to morph a little between these two
categories depending on threshold control settings. This makes them easy to use
intuitively with minimal fine-tuning of the envelope control settings.
Further refinement and enhancement of the envelope modes is provided by the three-
position KNEE switch. It is best to understand the operation of this function in more
depth before looking at the detail of the compressor signature switching.
Knee
The soft knee curves behave in a traditional way to blend the compression ratio around
the threshold setting (as described above), but more importantly they also have a
significant effect on the attack envelope shapes. The soft knee typically slows down
attack speed on signals in the knee area, which is desirable for natural sounding
compression because it compliments the reduced ratio effect of the soft knee. This
produces very gentle compression in the knee region.
The KNEE switch has three settings: hard (4dB); medium (12dB); and soft (40dB). In
hard setting the compressor still retains some soft knee characteristics. This is because
the implementation of an extremely hard knee produces undesirable sounding
distortion on low frequency programme material.
Corrective mode (exponential peak - fast)
This is a peak sensing compressor (like many older designs) with exponential attack
and release. It produces aggressive compression that gives good fast control/limiting
of dynamic material. It can be used to add colour to low frequency signals, thus
making it ideal for controlling extremely dynamic instruments like the bass guitar. The
compressor tends to sound best with fast attack time settings that capture transients
and with release adjusted to taste to either emphasise or minimise distortion and
pumping effects.
Adaptive mode (exponential RMS - accurate)
This is a root-mean-square (RMS) sensing compressor with exponential attack and
release. The RMS averaging process interacts with the attack and release to produce a
very adaptive envelope character. This allows faster attacks on large (over-threshold)
signal changes and produces slower attacks on small signal changes, regardless of
attack time setting. The attack control is still active, allowing some user intervention
although the adaptive nature makes envelope control setting fairly non-critical. The
compressor is therefore very fast and simple to set up on most programme material. It
is also sonically accurate and works well for both compression and limiting of vocals and
many other sources. The most natural sounding compression is normally achieved with
soft knee settings.
Creative mode (linear peak - slow)
This is a peak sensing compressor with linear (dB rate) attack and second order
release. The compressor is very transparent, providing some dynamic control but
without unduly affecting the intentional dynamic content of the source material. The
linear attack provides a constant rate of attack, such that large changes in programme
signal level take longer to become compressed than smaller changes. Adding soft knee
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noticeably delays these attacks, which can be particularly useful on drums where
compression can be applied to emphasise transients giving more punch while retaining
a good deal of artistic dynamic from the drummer.
The compressor normally sounds best with slower attack time settings, when it can be
used on difficult instruments, such as the acoustic guitar, with relatively fast release to
keep equal perceived loudness within a mix without producing excessive flutter or
distortion.
Vintage mode (adaptive peak - bright)
This is a peak sensing compressor with a partially adaptive nature. It produces
extremely subtle attack and release curves during the onset of compression that are
largely independent of the envelope control settings. However, as it is driven harder,
that is, signals are further over-threshold, the attack and release times become more
aggressive and gradually return to manual control so that the operator can optimise the
capture (or otherwise) of larger transients etc. The peak sensing algorithm
intentionally increases harmonic overtones during compression, which adds a valve-like
brightness and sparkle to the programme, producing extremely natural and lively
sounding compression of acoustic instruments.
Shimmer mode (overshoot peak - slow) - output only
This is a peak sensing compressor with an exponential release and unusual second
order attack character that tends to overshoot.
If used sparingly, the compressor sounds very soft and natural, and can provide
additional control of material that already has a fairly low dynamic content. It can
sound very transparent on vocals where it retains a good degree of life in the
performance.
If used at higher ratios with slow attack and fast release times, the compressor can
produce a very soft, bouncy sound character.
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PRO Series input channel EQ modes
This section aims to provide an understanding of the input channel EQ modes contained
within the PRO Series Control Centre.
Basic specification
The PRO Series input EQ comprises four bands: treble; hi mid; lo mid; and bass. The
default operation for all four sections is full parametric sweep (peak), with the following
controls:
• Gain: continuous adjustment of boost and cut from + 16dB to - 16dB with a 0dB
centre detent.
• Width: continuous adjustment of bandwidth from 0.1 to 3.0 octaves (this only
operates in bell mode for Bass and Treble).
• Treble: continuous adjustment of the frequency range that the treble equaliser acts
on from 1kHz to 25kHz.
• Hi mid and lo mid: hi mid frequency control gives continuous adjustment of the
frequency range that the hi mid equaliser acts on from 320Hz to 8kHz. Lo mid
frequency control gives continuous adjustment of the frequency range that the
lo mid equaliser acts on from 80Hz to 2kHz.
• Bass: continuous adjustment of the frequency range that the bass equaliser acts on
from 16Hz to 400Hz.
The treble EQ band can be switched from bell to any of three other shelving modes:
•Soft
• Classic
•Bright
The bass EQ band can be switched from bell to any of three other shelving modes:
•Warm
• Classic
• Deep
Description of the input channel EQ modes
The difference between the shelf filters is subtle and, if you do not have time to
experiment, it is probably best to use classic because this is the best all round filter.
However, when you do have time to experiment you may find the other types each
have their uses. The minimum harmonic types, and in particular the bass, can sound
very natural, even with very aggressive EQ, but the psycho-acoustic principles that they
operate on do not always work so well on multiple source or pre-mixed material.
Soft treble
The soft treble response provides a very gentle gradient between EQ’d and non-EQ’d
frequency areas. This produces the absolute minimum of phase shift, but does not
provide much differentiation, thus frequencies outside the area of interest are often
unintentionally EQ’d. This is best used to provide gentle shaping of pre-mixed material.
Classic treble
The classic treble response provides a much steeper gradient between EQ’d and
non-EQ’d frequency areas, as made famous by previous Midas consoles like the XL4.
This provides better differentiation and minimal phase shift, but there is some
undershoot error, that is, when boosting the treble, the mids are slightly cut and vice
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versa. This is the best all round EQ and especially effective when microphones are
covering multiple sources.
Bright treble
The bright treble response provides a slightly steeper gradient than the classic and it is
uniquely shaped to provide minimum harmonic disruption to the EQ’d material. As for
the classic EQ, this provides better differentiation and minimal phase shift, but now
there is no undershoot error corrupting the mids. This is best used on single source
material and especially good for acoustic performances.
Warm bass
The warm bass response provides a very gentle gradient between EQ’d and non-EQ’d
frequency areas. This produces the absolute minimum of phase shift, but does not
provide much differentiation, thus frequencies outside the area of interest are often
unintentionally EQ’d. This is best used to provide gentle shaping of pre mixed material.
Classic bass
The classic bass response provides a much steeper gradient between EQ’d and
non-EQ’d frequency areas and is modelled on the XL4. This provides better
differentiation and minimal phase shift, but there is some undershoot error, that is,
when boosting the bass, the mids are slightly cut and vice versa. This is often desirable
on bass EQ and it is the best all round, general purpose EQ curvature.
Deep bass
The deep bass response provides a slightly steeper gradient than the classic and it is
uniquely shaped to provide minimum harmonic disruption to the EQ’d material. As for
the classic EQ, this provides better differentiation and minimal phase shift, but there is
no undershoot error. Powerful boost/cut can be used that still sounds very natural and
does not corrupt the mids. This is best used on single source material.
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PRO Series output channel EQ modes
This section aims to provide an understanding of the output channel EQ modes
contained within the PRO Series Control Centre.
Basic specification
The PRO Series output EQ comprises six bands strategically positioned at certain
frequencies ranging from the low end (bass) to the high (treble) of the frequency band.
The default operation for all six sections is full parametric sweep (peak), with the
following controls:
• Gain: continuous adjustment of boost and cut from + 16dB to -16dB, with a 0dB
centre detent.
• Width: continuous adjustment of bandwidth from 0.1 to 3.0 octaves.
• Frequency: continuous adjustment of the frequency range that the band EQ acts on
from 16Hz to 25kHz.
Band 1 can be switched from bell to any of three shelving modes:
•Warm
• High pass filter 6dB
• High pass filter 12dB
Band 2 can be switched from bell to high pass filter 24dB shelving mode.
Band 6 can be switched from bell to any of three shelving modes:
•Soft
• Lo pass filter 6dB
• Lo pass filter 12dB
Description of the output channel EQ modes
Soft (treble)
The soft treble response provides a very gentle gradient between EQ’d and non-EQ’d
frequency areas. This produces the absolute minimum of phase shift, but does not
provide much differentiation, thus frequencies outside the area of interest are often
unintentionally EQ’d. This is best used to provide gentle shaping of pre-mixed material.
Warm (bass)
The warm bass response provides a very gentle gradient between EQ’d and non-EQ’d
frequency areas. This produces the absolute minimum of phase shift, but does not
provide much differentiation, thus frequencies outside the area of interest are often
unintentionally EQ’d. This is best used to provide gentle shaping of pre-mixed material.
High pass filter (HPF)
The HPF attenuates (not boosts) all frequencies below a certain level (cut-off
frequency) while allowing all those above it to pass through. The harshness or
smoothness with which the sound is removed beyond this point is determined by the
dB/octave, with 6dB being the most common. The HPF is generally used to take rumble
or hum out of any sound source, but may also produce a sound effect by manipulation
of the controls.
The high pass filters of the PRO Series have gain roll off before the corner frequency,
which is variable.
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Lo pass filter (LPF)
The LPF attenuates (not boosts) all frequencies above a certain level (cut-off
frequency), while allowing all those below it to pass through. The harshness or
smoothness with which the sound is removed beyond this point is determined by the
dB/octave, with 6dB being the most common. The LPF is generally used to reduce
noise in quiet passages or to take the fizz off any source with excessively high
frequencies, but may also produce a sound effect by manipulation of the controls.
The low pass filters of the PRO Series have gain roll off after the corner frequency,
which is variable.
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Appendix B: Technical Specification
This appendix provides the full technical specification for the PRO Series Live Audio
Systems, which include the DL251 Audio System I/O, DL351 Modular I/O, DL371 Audio
System Engine and DL451 Modular I/O, and the optional DL431 Mic Splitter.
Due to a policy of continual improvement, Midas reserves the right to alter the function
or specification at any time without notice.
PRO Series general statistics
Item Item
PRO3
PRO6
PRO9
Configurable XLR connections 1 x Control Surface I/O box houses
24 x I/O slots in 3 x 8 wide blocks of:
8 x (XLR) mic/line inputs or
8 x (XLR) line outputs or
8 x (Jack) line in and 8 x line out or
4 x (stereo) AES3 in and 4 x (stereo)
AES3 out
UUU
1 x 7U rack DL351 Modular I/O box
houses 64 x I/O slots in 8 x 8 wide
blocks of:
8 x (XLR) mic/line inputs or
8 x (XLR) line outputs or
8 x (Jack) line in and 8 x line out or
4 x (stereo) AES3 in and 4 x (stereo)
AES3 out
YUU
1 x 3U rack configurable DL451
Modular I/O box houses 24 x I/O slots
in 3 x 8 wide blocks of:
8 x (XLR) mic/line inputs or
8 x (XLR) line outputs or
8 x (Jack) line in and 8 x line out or
4 x (stereo) AES3 in and 4 x (stereo)
AES3 out
YYU
Fixed XLR connections 1 x 5U rack fixed configuration DL251
Audio System I/O box houses 48
(XLR) mic/line inputs
UY Y
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Typical configuration
(assuming all analogue I/O)
I/O Box mic/line inputs (XLR)
Surface mic/line auxiliary inputs
Total mic input count
8 x (XLR) I/O box master/matrix
outputs
8 x (Jack) Surface aux/group outputs
8 x (Jack) Surface assignable inputs
8 x (Jack) Surface assignable outputs
1 x (XLR) Surface stereo master
output
2 x (XLR) Surface stereo monitor
outputs
48
8
56
56
8
64
80
8
88
System expansion
(optional rack boxes)
Multiple 3U rack configurable I/O
boxes can be connected that house
24 x I/O slots in 8 x 8 wide blocks of:
8 x (XLR) mic/line inputs or
8 x (XLR) line outputs or
8 x (Jack) line in and 8 x line out
4 x (stereo) AES3 in and 4 x (stereo)
AES3 out
UUU
Multiple 5U rack fixed configuration
I/O boxes that house:
48 x (XLR) mic/line inputs
16 x (XLR) outputs
UUU
Multiple 6U rack Splitters house
96 x Splitter mic/line inputs
2 x 96 Splitter outputs
1 x 96 transformer isolated Splitter
outputs
UUU
Input audio processing Dual slope high and low pass filters
4-band parametric EQs (includes 8
returns) with 3 shelf modes
4-mode creative input compressors
Input gates
48
56
48
48
56
64
56
56
80
88
80
80
Mix/output audio processing Output 5-band parametric EQ with
shelf and multiple high and low pass
modes
5-mode creative output dynamics
Assignable Klark Teknik output GEQs
27
27
8
35
35
8
35
35
8
Assignable audio processing 8 x assignable stereo effects
(each can be reconfigured to generate
4 additional GEQs, making a total of
36 available on the control centre)
UUU
Mixing control assistance 8 x auto-mutes
6 x surface population groups
10 x VCA faders
10 x VCA associated population
groups
1000-scene snapshot automation
UUU
Resilience N+1 and fault tolerant modular
system with dual redundant system
interconnections
UUU
Item Item
PRO3
PRO6
PRO9
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PRO Series general specifications
Sampling frequency 96kHz
Latency delay <2ms input to master (no compensation)
Dynamic range 110dB, 22Hz to 22kHz (no pre-emphasis)
Maximum voltage gain 80dB inputs to subgroups and masters
86dB inputs to aux and matrix
Crosstalk at 1kHz -100dB physically adjacent input channels
Crosstalk at 10kHz -100dB physically adjacent input channels
Fader/pan cut off at 1kHz -100dB
Fader/pan cut off at 10kHz -100dB
Display screens 2 x 15” daylight-viewable colour screens
LCD switch 33 x RGB colour
Motorised faders 29 x touch-sensitive
Fader resolution 1024 steps
Encoders 102 x touch-sensitive
Encoder resolution 512 steps
Dimensions PRO Series Control Centre: 1300 x 1000 x
400 mm
DL251 I/O Box: 5U x 410 mm deep
DL351 I/O Box: 7U x 410 mm deep
DL371 DSP: 7U x 410 mm deep
DL451 I/O Box: 3U x 410 mm deep
Net weight (standard install) PRO3:
Control centre: 120 kg
1 x DL251: 10 kg
1 x DL371: 30 kg
Total: 160 kg
PRO6:
Control centre: 120 kg
1 x DL351: 50 kg
1 x DL371: 30 kg
Total: 200 kg
PRO9:
Control centre: 120 kg
1 x DL351: 50 kg
1 x DL371: 30 kg
1 x DL451: 13 kg
Total: 213 kg
Power requirements 100V to 240V, 50 to 60Hz
Operating temperature range +5°C to +40°C
Storage temperature range -20°C to +60°C
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PRO Series audio performance specifications
Frequency response
Gain error at 1kHz
Input Output Gain 20Hz 20kHz
DL251 I/O Box DL251 I/O Box 0dB 0dB to -1.0dB 0dB to -1.0dB
DL251 I/O Box DL251 I/O Box 40dB 0dB to -1.0dB 0dB to -1.0dB
DL351 I/O Box DL351 I/O Box 0dB 0dB to -1.0dB 0dB to -1.0dB
DL351 I/O Box DL351 I/O Box 40dB 0dB to -1.0dB 0dB to -1.0dB
Surface I/O Surface I/O 0dB 0dB to -1.0dB 0dB to -1.0dB
Surface I/O Surface I/O 40dB 0dB to -1.0dB 0dB to -1.0dB
DL451 I/O Box DL451 I/O Box 0dB 0dB to -1.0dB 0dB to -1.0dB
DL451 I/O Box DL451 I/O Box 40dB 0dB to -1.0dB 0dB to -1.0dB
DL431 Splitter DL351 I/O Box 0dB 0dB to -1.0dB 0dB to -1.0dB
DL431 Splitter DL351 I/O Box 40dB 0dB to -1.0dB 0dB to -1.0dB
DL431 Splitter DL431 A Out 0dB 0dB to -0.5dB 0dB to -0.5dB
DL431 Splitter DL431 A Out 40dB 0dB to -0.5dB 0dB to -0.5dB
DL431 Splitter DL431 B Out 0dB 0dB to -0.5dB 0dB to -0.5dB
DL431 Splitter DL431 B Out 40dB 0dB to -0.5dB 0dB to -0.5dB
DL431 Splitter DL431 C Out -6dB 0dB to -1.0dB 0dB to -1.0dB
Input Output Gain Maximum Minimum
DL251 I/O Box DL251 I/O Box 0dB +1.0dB -1.0dB
DL251 I/O Box DL251 I/O Box 40dB +1.0dB -1.0dB
DL351 I/O Box DL351 I/O Box 0dB +1.0dB -1.0dB
DL351 I/O Box DL351 I/O Box 40dB +1.0dB -1.0dB
Surface I/O Surface I/O 0dB +1.0dB -1.0dB
Surface I/O Surface I/O 40dB +1.0dB -1.0dB
DL451 I/O Box DL451 I/O Box 0dB +1.0dB -1.0dB
DL451 I/O Box DL451 I/O Box 40dB +1.0dB -1.0dB
DL431 Splitter DL451 I/O Box 0dB +1.0dB -1.0dB
DL431 Splitter DL451 I/O Box 40dB +1.0dB -1.0dB
DL431 Splitter DL431 A Out 0dB +0.5dB -0.5dB
DL431 Splitter DL431 A Out 40dB +0.5dB -0.5dB
DL431 Splitter DL431 B Out 0dB +0.5dB -0.5dB
DL431 Splitter DL431 B Out 40dB +0.5dB -0.5dB
DL431 Splitter DL431 C Out -6dB +1.0dB -1.0dB
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Input CMRR
Distortion at 0dBu
Input Output Gain 100Hz 1kHz
DL251 I/O Box DL251 I/O Box 0dB 80dB 80dB
DL251 I/O Box DL251 I/O Box 40dB 90dB 90dB
DL351 I/O Box DL351 I/O Box 0dB 80dB 80dB
DL351 I/O Box DL351 I/O Box 40dB 90dB 90dB
Surface I/O Surface I/O 0dB 80dB 80dB
Surface I/O Surface I/O 40dB 90dB 90dB
DL451 I/O Box DL451 I/O Box 0dB 80dB 80dB
DL451 I/O Box DL451 I/O Box 40dB 90dB 90dB
DL431 Splitter DL451 I/O Box 0dB 80dB 80dB
DL431 Splitter DL451 I/O Box 40dB 90dB 90dB
DL431 Splitter DL431 A Out 0dB 80dB 80dB
DL431 Splitter DL431 A Out 40dB 90dB 90dB
DL431 Splitter DL431 B Out 0dB 80dB 80dB
DL431 Splitter DL431 B Out 40dB 90dB 90dB
DL431 Splitter DL431 C Out -6dB 110dB 90dB
Input Output Gain 1kHz 10kHz
DL251 I/O Box DL251 I/O Box 0dB 0.01% 0.01%
DL251 I/O Box DL251 I/O Box 40dB 0.03% 0.03%
DL351 I/O Box DL351 I/O Box 0dB 0.01% 0.01%
DL351 I/O Box DL351 I/O Box 40dB 0.03% 0.03%
Surface I/O Surface I/O 0dB 0.01% 0.01%
Surface I/O Surface I/O 40dB 0.03% 0.03%
DL451 I/O Box DL451 I/O Box 0dB 0.01% 0.01%
DL451 I/O Box DL451 I/O Box 40dB 0.03% 0.03%
DL431 Splitter DL431 A Out 0dB 0.01% 0.01%
DL431 Splitter DL431 A Out 40dB 0.03% 0.03%
DL431 Splitter DL431 B Out 0dB 0.01% 0.01%
DL431 Splitter DL431 B Out 40dB 0.03% 0.03%
DL431 Splitter DL431 C Out -6dB 0.01% 0.01%
DL431 Splitter DL451 I/O Box 0dB 0.01% 0.01%
DL431 Splitter DL451 I/O Box 40dB 0.03% 0.03%
354 Appendix B: Technical Specification
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Distortion at +20dBu
Input Output Gain 1kHz 10kHz
DL251 I/O Box DL251 I/O Box 0dB 0.03% 0.03%
DL251 I/O Box DL251 I/O Box 40dB 0.03% 0.03%
DL351 I/O Box DL351 I/O Box 0dB 0.03% 0.03%
DL351 I/O Box DL351 I/O Box 40dB 0.03% 0.03%
Surface I/O Surface I/O 0dB 0.03% 0.03%
Surface I/O Surface I/O 40dB 0.03% 0.03%
DL451 I/O Box DL451 I/O Box 0dB 0.03% 0.03%
DL451 I/O Box DL451 I/O Box 40dB 0.03% 0.03%
DL431 Splitter DL431 A Out 0dB 0.03% 0.03%
DL431 Splitter DL431 A Out 40dB 0.03% 0.03%
DL431 Splitter DL431 B Out 0dB 0.03% 0.03%
DL431 Splitter DL431 B Out 40dB 0.03% 0.03%
DL431 Splitter DL431 C Out -6dB 0.03% 0.03%
DL431 Splitter DL451 I/O Box 0dB 0.03% 0.03%
DL431 Splitter DL451 I/O Box 40dB 0.03% 0.03%
PRO Series audio performance specifications 355
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Signal path noise 22Hz to 22kHz unweighted
Inputs 150R terminated.
Dynamic range 22Hz to 22kHz unweighted
Input Output Gain Output Noise EIN
DL251 I/O Box DL251 I/O Box 0dB -86dBu -86dBu
DL251 I/O Box DL251 I/O Box 40dB -86dBu -126dBu
DL351 I/O Box DL351 I/O Box 0dB -89dBu -89dBu
DL351 I/O Box DL351 I/O Box 40dB -87dBu -127dBu
Surface I/O Surface I/O 0dB -89dBu -89dBu
Surface I/O Surface I/O 40dB -87dBu -127dBu
DL451 I/O Box DL451 I/O Box 0dB -89dBu -89dBu
DL451 I/O Box DL451 I/O Box 40dB -87dBu -127dBu
DL431 Splitter DL431 A Out 0dB -98dBu -98dBu
DL431 Splitter DL431 A Out 40dB -88dBu -128dBu
DL431 Splitter DL431 B Out 0dB -98dBu -98dBu
DL431 Splitter DL431 B Out 40dB -88dBu -128dBu
DL431 Splitter DL431 C Out -6dB -123dBu -117dBu
DL431 Splitter DL451 I/O Box 0dB -89dBu -89dBu
DL431 Splitter DL451 I/O Box 40dB -87dBu -127dBu
Input Output Gain
Maximum
Output
Dynamic
Range
DL251 I/O Box DL251 I/O Box 0dB +21dBu 107dB
DL251 I/O Box DL251 I/O Box 40dB +21dBu 107dB
DL351 I/O Box DL351 I/O Box 0dB +21dBu 110dB
DL351 I/O Box DL351 I/O Box 40dB +21dBu 108dB
Surface I/O Surface I/O 0dB +21dBu 110dB
Surface I/O Surface I/O 40dB +21dBu 108dB
DL451 I/O Box DL451 I/O Box 0dB +21dBu 110dB
DL451 I/O Box DL451 I/O Box 40dB +21dBu 108dB
DL431 Splitter DL431 A Out 0dB +26dBu 124dB
DL431 Splitter DL431 A Out 40dB +26dBu 114dB
DL431 Splitter DL431 B Out 0dB +26dBu 124dB
DL431 Splitter DL431 B Out 40dB +26dBu 114dB
DL431 Splitter DL431 C Out -6dB +21dBu 144dB
DL431 Splitter DL451 I/O Box 0dB +21dBu 110dB
DL431 Splitter DL451 I/O Box 40dB +21dBu 108dB
356 Appendix B: Technical Specification
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Owner’s Manual
PRO Series system inputs and outputs
DL251 I/O Box
Analogue inputs
Analogue outputs
MIDI
Digital system inputs and outputs
DL351 I/O Box
Analogue inputs
Analogue outputs
Digital inputs
Connector 3-pin XLR balanced
A/D converter 24-bit, 96k and 128 times over sampling
Connector 3-pin XLR balanced
D/A converter 24-bit, 96k and 128 times over sampling
MIDI connector In, out and through on 5-pin DIN
GPIO IN connector 25-pin D-type (opto isolated)
GPIO OUT connector 25-pin D-type (opto isolated)
System connector 2 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR
N+1 connector 1 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR providing redundant
back up
Connector 3-pin XLR balanced
A/D converter 24-bit, 96k and 128 times over sampling
Connector 3-pin XLR balanced
D/A converter 24-bit, 96k and 128 times over sampling
Connector AES3 (two channels of digital audio) on 3-pin
XLR
Sample rates Accepts any frequency between 32k to 96k
Bypass Sample rate converter can be bypassed
PRO Series system inputs and outputs 357
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Digital outputs
Analogue Jack inputs and outputs
MIDI and GPIO
Digital system inputs and outputs
DL451 I/O Box
Analogue inputs
Analogue outputs
Digital inputs
Connector AES3 (two channels of digital audio) on 3-pin
XLR
Sample rates 48k, 96k or auto tracking to inputs
Bypass Sample rate converter can be bypassed
Word length 16-, 20- or 24-bit
Connector 16 x 1/4” TRS (8 x inputs (returns) and 8 x
outputs (sends))
Miscellaneous Balanced, normalising and low latency
MIDI connector In, out and through on 5-pin DIN
GPIO IN connector 25-pin D-type (opto isolated)
GPIO OUT connector 25-pin D-type (opto isolated)
System connector 3 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR
N+1 connector 1 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR providing redundant
back up
Connector 3-pin XLR balanced
A/D converter 24-bit, 96k and 128 times over sampling
Connector 3-pin XLR balanced
D/A converter 24-bit, 96k and 128 times over sampling
Connector AES3 (two channels of digital audio) on 3-pin
XLR
Sample rates Accepts any frequency between 32k to 96k
Bypass Sample rate converter can be bypassed
358 Appendix B: Technical Specification
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Digital outputs
MIDI and GPIO
Digital system inputs and outputs
DL431 Splitter (option)
Analogue inputs
Connector AES3 (two channels of digital audio) on 3-pin
XLR
Sample rates 48k, 96k or auto tracking to inputs
Bypass Sample rate converter can be bypassed
Word length 16-, 20- or 24-bit
MIDI connector In, out and through on 5-pin DIN
GPIO IN connector 25-pin D-type (opto isolated)
GPIO OUT connector 25-pin D-type (opto isolated)
System connector AES50 (24 channels of bi-directional digital
audio) on Ethercon XLR
Duplicate connector AES50 (24 channels of bi-directional digital
audio) on Ethercon XLR providing dual
redundant back up of channels
Connector 3-pin XLR balanced
Phantom power 48-volt with local switch and remote control
from PRO Series Control Centre
Gain control A -2.5dB to +45dB analogue gain in 2.5dB steps
with local and remote control; plus a further
±20dB of high resolution interpolated DSP trim
Gain control B Independent second channel identical to
Gain control A (above)
Filter A 30Hz high pass with local defeat switch and
remote control from PRO Series Control Centre
Filter B Independent second channel identical to Filter
A (above)
Meter (quantity 24) 7-segment -18dBu to +24dBu
Meter A/B Meters can be switched to monitor A or B
pre-amplifiers
A/D converter A 24-bit, 96k and 128 times over sampling
A/D converter B Independent second channel identical to A/D
converter A (above)
PRO Series system inputs and outputs 359
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Analogue outputs
Digital (system) outputs
DL371 DSP/Router
System inputs and outputs
Connector A 3-pin XLR balanced
Connector B Independent second channel identical to
Connector A (above)
Connector C Independent third channel on front mounted 3-
pin XLR, balanced and transformer isolated
(with fixed gain of -6dB)
Headphone connector ¼” Jack
Audio monitor 3-pin XLR balanced
System connector A AES50 (24 channels of digital audio) on
Ethercon XLR
System connector B Independent second channel identical to
System connector A (above)
Duplicate connector A AES50 (24 channels of digital audio) on
Ethercon XLR providing dual redundant back up
of A channels
Duplicate connector B AES50 (24 channels of digital audio) on
Ethercon XLR providing dual redundant back up
of B channels
System connector 3 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR
N+1 connector 1 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR providing dual
redundant back up
System expansion connector 4 x AES50 (24 channels of bi-directional digital
audio) on EtherCon® XLR
Snake connector (copper) HyperMac (192 channels of bi-directional digital
audio) on EtherCon® XLR
Duplicate snake connector
(copper)
HyperMac (192 channels of bi-directional digital
audio) on EtherCon® XLR
Snake connector (fibre) HyperMac (192 channels of bi-directional digital
audio) on OpticalCon® XLR
Duplicate snake connector
(fibre)
HyperMac (192 channels of bi-directional digital
audio) on OpticalCon® XLR
360 Appendix B: Technical Specification
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Owner’s Manual
Miscellaneous inputs and outputs
PRO Series Control Surface
Analogue audio system inputs
Analogue audio system outputs
Word clock IN connector BNC
Word clock OUT connector BNC
AES3 Sync IN connector 3-pin XLR
AES3 Sync OUT connector 3-pin XLR
External connector EtherCon® XLR
Connector 3-pin XLR balanced
A/D converter 24-bit, 96k and 128 times over sampling
Connector ¼” Jack balanced
A/D converter 24-bit, 96k and 128 times over sampling
Talkback connector 3-pin XLR balanced line
Talk connector 3-pin XLR balanced mic with 48V phantom
voltage
Meters (quantity 16) 20-segment -36dBu to +21dBu
Connector 3-pin XLR balanced
D/A converter 24-bit, 96k and 128 times over sampling
Connector ¼” Jack balanced
D/A converter 24-bit, 96k and 128 times over sampling
Monitor connector 3-pin XLR balanced line
Talk connector 3-pin XLR balanced line
Headphone connector ¼” Jack (stereo)
Meters (quantity 9) 20-segment -36dBu to +21dBu
PRO Series system inputs and outputs 361
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Digital audio system inputs and outputs
Control data system inputs and outputs
Miscellaneous inputs and outputs
Input connector AES3 (two channels of digital audio) on 3-pin
XLR
Sample rates Accepts any frequency 32k to 96k
Bypass Sample rate converter can be bypassed
Output connector AES3 (two channels of digital audio) on 3-pin
XLR
Sample rate 48k, 96k or auto tracking to inputs
Bypass Sample converter can be bypassed
Word length 16-, 20- or 24-bit
System expansion connector 3 x AES50 (24 channels of bi-directional digital
audio) on Ethercon XLR
Snake connector (copper) HyperMac (192 channels of bi-directional digital
audio) on Ethercon XLR
Duplicate snake connector
(copper)
HyperMac (192 channels of bi-directional digital
audio) on Ethercon XLR
Snake connector (fibre) HyperMac (192 channels of bi-directional digital
audio) on Opticon XLR
Duplicate snake connector
(copper)
HyperMac (192 channels of bi-directional digital
audio) on Opticon XLR
System connector Ethercon XLR
Duplicate connector Ethercon XLR providing dual redundant back up
Word clock IN connector BNC
Word clock OUT connector BNC
AES3 sync IN connector 3-pin XLR
AES3 sync OUT connector 3-pin XLR
External (Ethernet) connector Ethercon XLR
Monitor input connector 3-row, 15-pin D-type, analogue VGA
KVM input connection Screen 3-row, 15-pin D-type (analogue VGA)
and USB keyboard/mouse
USB host connection
Line I/O + Mic Splitter
USB 2.0 full speed (12.0Mbs)
500mA maximum load
USB slave connection
Line I/O + Mic Splitter
USB 2.0 full speed (12.0Mbs)
USB host connection
Surface
USB 2.0 full speed (12.0Mbs)
1A maximum load
362 Appendix B: Technical Specification
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Owner’s Manual
PRO Series input and output characteristics
Analogue input characteristics
Analogue output characteristics
Input Type Load Z Gain Max. Level Connector
DL251 I/O Box 10K -25dB to +60dB +26dBu XLR
DL351 I/O Box 10K -25dB to +60dB +26dBu XLR
Surface I/O 10K -25dB to +60dB +26dBu XLR
DL451 I/O Box 10K -25dB to +60dB +26dBu XLR
DL431 Splitter 10K -22.5dB to +65dB +24dBu XLR
Talk mic 600R +15dB to +60dB +6dBu XLR
Monitor 10K 0dB +24dBu XLR
Output Type Source Z Gain Max. Level Connector
DL251 I/O Box 50R 0dB +21dBu XLR
DL351 I/O Box 50R 0dB +21dBu XLR
Surface I/O 50R 0dB +21dBu XLR
DL451 I/O Box 50R 0dB +21dBu XLR
DL431 Splitter
Main
150R 0dB +24dBu XLR
DL431 Splitter
Isolated
75R -6dB +18dBu XLR
Talk mic 50R 0dB +24dBu XLR
Monitor 50R 0dB +24dBu XLR
Headphones 10R +10dB 750mW ¼” Jack
PRO Series input and output characteristics 363
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Digital I/O characteristics
Miscellaneous digital characteristics
Type Chan.
Data
Length I/O Description Notes Conn.
AES3 2 24-bit Input Conforms to
AES3 - 2003
XLR
AES3 2 24-bit Output Conforms to
AES3 - 2003
XLR
AES50 24 24-bit Bi-
directional
Conforms to
AES50 -2006
Ethercon
XLR
HyperMac 192 24-bit Bi-
directional
Cat 5e, Gigabit
Ethernet physical
layer
Ethercon
XLR
HyperMac 192 24-bit Bi-
directional
850 nm, laser
module 1.25Gb/s
1000 base-SX
physical layer on
50/125 multimode
fibre
Opticon
XLR
Type I/O Description Notes Connector
Word clock IN Accepts TTL level, 96kHz square
wave; impedance 75 ohms
BNC
Word clock OUT Provides a TTL level, 96kHz
square wave
BNC
AES sync IN Accepts a 96kHz digital audio
signal conforming to AES3 - 2003
XLR
AES sync OUT Provides a 96kHz grade II
reference signal conforming to
AES3 - 2003
XLR
External
(Ethernet)
- Cat 5e, Auto MDIX, 10Mb/s Fast
Ethernet physical layer
Ethercon XLR
364 Appendix B: Technical Specification
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Owner’s Manual
PRO Series main processing functions
Main input channel functions
Input channel hi pass 10Hz to 400Hz swept in digital domain
Slope selectable 12dB/Oct or 24dB/Oct
Input channel lo pass 2kHz to 20kHz swept in digital domain
Slope selectable 6dB/Oct or 12dB/Oct
Input channel treble Parametric operation
Frequency 1kHz to 25kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Shelf operation
Frequency 1kHz to 25kHz swept
Gain +16dB to -16dB
Soft, classic or bright (minimum harmonic
disruption) curves
Input channel hi mid Parametric operation
Frequency 320Hz to 8kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Input channel lo mid Parametric operation
Frequency 80Hz to 2kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Input channel bass Parametric operation
Frequency 16Hz to 400Hz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Shelf operation
Frequency 16Hz to 400Hz swept
Gain +16dB to -16dB
Warm, classic or deep (minimum harmonic
disruption) curves
Input channel compressor Peak, linear, RMS and vintage modes
(Corrective, Adaptive, Creative and Vintage)
Threshold -50dBu to +20dBu
Attack 200µs to 20ms
Release 50ms to 3s
Ratio 25:1 to 1:1
Knee 4dB, 12dB or 40dB
Gain 0dB to +24dB
Side chain source selectable + filter
Frequency 50Hz to 15kHz swept
Bandwidth 1/3, 1 or 2 Oct
PRO Series main processing functions 365
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Auxiliary input channel functions
Input channel gate Peak mode
Threshold -50dBu to +20dBu
Attack 20µs to 20ms
Hold 5ms to 2s
Release 5ms to 2s
Range
4
to 0dB
Side chain source selectable + filter
Frequency 50Hz to 15kHz swept
Bandwidth 1/3, 1 or 2 Oct
Aux channel treble Parametric operation
Frequency 1kHz to 25kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Shelf operation
Frequency 1kHz to 25kHz swept
Gain +16dB to -16dB
Soft, classic or bright (minimum harmonic
disruption) curves
Aux channel hi mid Parametric operation
Frequency 320Hz to 8kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Aux channel lo mid Parametric operation
Frequency 80Hz to 2kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Aux channel bass Parametric operation
Frequency 16Hz to 400Hz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Shelf operation
Frequency 16Hz to 400Hz swept
Gain +16dB to -16dB
Warm, classic or deep (minimum harmonic
disruption) curves
366 Appendix B: Technical Specification
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Output channel functions
Output channel band 6 Parametric operation
Frequency 16Hz to 25kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Lo pass operation
Frequency 16Hz to 25kHz swept
Slope 6dB/Oct or 12dB/Oct
Shelf operation
Frequency 16Hz to 25kHz swept
Gain +16dB to -16dB
Mode soft curve
Output channel bands 3, 4
and 5
Parametric operation
Frequency 16Hz to 25kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Output channel band 2 Parametric operation
Frequency 16Hz to 25kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Hi pass operation
Frequency 16Hz to 25kHz swept
Slope 24dB/Oct
Output channel band 1 Parametric operation
Frequency 16Hz to 25kHz swept
Gain +16dB to -16dB
BW 0.1 Oct to 3 Oct
Hi pass operation
Frequency 16Hz to 25kHz swept
Slope 6dB/Oct or 12dB/Oct
Shelf operation
Frequency 16Hz to 25kHz swept
Gain +16dB to -16dB
Mode soft curve
PRO Series main processing functions 367
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Effects channel functions
Output channel GEQ 16 available in place of PEQ (above)
31 bands, 1/3 Oct, proportional Q
Lo pass frequency 2kHz to 20kHz swept
Slope 6dB/Oct or 12dB/Oct
Hi pass frequency 20Hz to 500Hz swept
Slope 6dB/Oct or 12dB/Oct
Output channel dynamic Peak, linear, RMS, vintage and shimmer modes
(Corrective, Adaptive, Creative, Vintage and
Shimmer)
Threshold -50dBu to +25dBu
Attack 200µs to 20ms
Release 50ms to 3s
Ratio 25:1 to 1:1
Knee 4dB, 12dB or 40dB
Gain 0dB to +24dB
Side chain source selectable + filter
Frequency 50Hz to 15kHz swept
Bandwidth 1/3, 1 or 2 Oct
Stereo effects channel 8 available configurable as
Stereo or mono in, stereo out
Modulated delay effects
Complex delay, reverbs
Advanced dynamics
RTA and advanced measurements
Effects channel GEQ 32 available in place of effects (above)
31 bands, 1/3 Oct, proportional Q
Lo pass frequency 2kHz to 20kHz swept
Slope 6dB/Oct or 12dB/Oct
Hi pass frequency 20Hz to 500Hz swept
Slope 6dB/Oct or 12dB/Oct
368 Appendix B: Technical Specification
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PRO Series status functions
Meters
Screens
Screen functions
LCD switches
Control Centre meters 9 x output 20-LED -36dBu to +21dBu
16 x input 20-LED -36dBu to +21dBu
32 x gain reduction 7-LED
Screen metering 105 x 20-segment signal level meters
112 x 7-segment gain reduction (or 144
including aux and matrix gain reduction
meters for the compressors)
Quantity 2 x full-colour daylight-viewable screens
Size 15” (diagonal)
Resolution 1024 x 768 pixels
External screen 2 x output connectors for remote screens
Source Each screen can be switched to source either
the local control centre or an external input
KVM Screen 2 can be switched to operate up to 3
external computers utilising the control centre
trackball and keyboard
Internal GUI Advanced interpolated graphics support all
control centre functions
Quantity 33 x RGB colour display switches
Size 18 mm x 12 mm display area
Resolution 36 x 24 pixels
369
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Appendix C: Klark Teknik DN370 GEQ
This appendix contains information on the Klark Teknik DN370 GEQ unit that is
pertinent to the PRO Series.
Notes
When reading the Klark Teknik DN370 GEQ in relation to the PRO Series, take the
following into consideration:
• Constant-Q versus Symmetrical-Q: In the manual, Constant-Q is referred to as
Symmetrical-Q. There is a note in the manual to say that Symmetrical-Q is
inaccurately referred to as Constant-Q.
• For “DN370” in manual, read “GEQ”.
• SPL = sound pressure level.
• Although the manual refers to a physical unit, this can still apply to the virtual GEQ
equivalent of the PRO Series. For example, the pushbuttons in the units on the
Graphic EQs screen have the same functions as the ones on the physical unit, and
the on-screen faders represent the unit’s long-throw ones etc.
• The GEQ of the PRO Series has 31 bands, as compared to 30 on the DN370. The
extra band is at a frequency centre of 20Hz, and is adjusted by the leftmost fader.
Using the GEQ
This 31-band, third octave graphic equaliser provides a high degree of accuracy and
control. Graphic equalisers may be used for corrective or creative purposes, depending
upon whether they are used live (MON or FOH) or in the studio (broadcast or
recording).
Studio and creative use
In the control room, a graphic equaliser may be used to remove problem frequencies
and improve deficiencies in room acoustics. This is commonly achieved with the use of
a real time analyser (RTA). As the frequency centres of the PRO Series Control Centre
conform to ISO standards, corrections can be made by sight directly from the RTA to
the graphic.
There are many creative and corrective uses for the GEQ. For example, by using the 31
equaliser bands and the high and low pass filters you can achieve the effect of someone
speaking on the telephone. When used in conjunction with a compressor, you can
create a de-esser. The GEQ can also be used for tonal correction of instruments or
vocals.
Live use (MON)
A monitor engineer may use an RTA to detect these peaks but, more often than not,
monitor engineers have a developed sense of hearing that enables them to remove
these frequencies by ear. The GEQ’s 31 bands allow a majority of feedback to be
removed from the monitors. High and low pass filters are provided that can be used to
remove high frequency feedback and bass rumble or over-excursion of bass drivers
(the GEQ on the PRO Series has no variable notch filters). It may also be undesirable to
have large amounts of bass in the on-stage monitors. In vocal monitors, bass does not
370 Appendix C: Klark Teknik DN370 GEQ
PRO Series Live Audio Systems
Owner’s Manual
assist projection of vocals and can make the stage sound unbearable, hence, the bass
element can be rolled off at the desired frequency. The fundamentals of vocals are
transmitted in a narrow audible range and will appear unaffected.
Bypassing the EQ
It may be desirable to hear the effect of the graphic equaliser settings, for example,
during a sound check. To do this, press the EQ in/out switch so that it is set to out (the
red out LED is illuminated); this bypasses the EQ (and gain) settings of the GEQ,
allowing the user to hear the original audio without adjusting any fader or control.
Placing the fader of any band at the extreme upwards position will apply 12dB gain to
frequencies in that band. Placing the fader of any band at the extreme downwards
position will apply 12dB of attenuation, depending upon the RANGE switch’s setting, to
the frequencies in that band.
Audio signal path 371
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Audio signal path
372 Appendix C: Klark Teknik DN370 GEQ
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373
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Appendix D: Klark Teknik DN780
Reverb
This appendix contains parameter application notes for the DN780 reverb internal effect
on the PRO Series. This is followed by information on the special effects program and
technical specifications of the PRO Series Control Centre’s DN780.
Parameter application notes
This section provides application notes on the parameters of the DN780 Reverb effect.
Pre-delay
0 to 990 milliseconds (ms) of pre-delay is available allowing a very wide range of
control. Delays of less than 30ms closely integrate the direct and reverberant sounds;
often a desirable feature on percussive sounds. Delays of 50ms or more cause the
direct and reverberant sounds to separate and convey a feeling of depth and distance to
the simulated environment. Delays above 2300ms are used for creating special effects.
Pattern
The pattern control alters the ‘density’ of the early reflections. It is adjustable from 0 to
9 as shown on display f1, with 0 giving a low density or ‘grainy’ character to the early
reflections and 9 producing a high density effect.
Level
The level control functions convincingly as a ‘depth’ control, altering the apparent
distance between the sound source and the listener. It is adjustable from 0 to 9 as
shown on display f2, with 0 being relatively distant and 9 bringing the sound source
closer.
Decay
The reverberation decay time is adjustable from 0.1 to 18 seconds, depending on room
size, changing the reverberant field from a virtually dead sound to a totally surreal
effect. Short decay times, under one second, are essential for authentic small room
simulation and also extremely useful for ambience applications where classic
reverberation is not wanted. Reverb times of 1 to 4 seconds cover the majority of
normal applications where classic reverberation is required. Longer decay times are
available for special effect applications.
LF key
LF is adjustable to ±7, depending on room size and decay time, as shown on display f3.
An increase in LF decay time is generally desirable on simulations of large halls, since
low frequency sounds suffer less than higher frequencies from absorption in air. Very
small spaces usually need the ‘thin’ sound created by reducing LF decay.
374 Appendix D: Klark Teknik DN780 Reverb
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Owner’s Manual
HF key
HF is adjustable to ±7, as shown on display f4. The HF decay control sets the
absorption characteristic of the simulated space. In reality, large environments feature
considerably reduced high frequency decay times due to air absorption. A smaller room
will feature greater HF decay time if the walls are tiled and the room is empty than if
the room contains soft furnishings and curtains. The wide range of control provided will
allow a suitable setting to be chosen to enhance realism in most applications.
Room size
Room size is adjustable from 8 to 90 linear metres, representing a wide range of
volumes. Since the acoustic character of a given environment depends not only on the
reverberation time and construction of the room, but also to a great extent on its
volume. The room size control is, in fact, essential if authentic simulation of a range of
different sized environments is required. Small room sizes give a confined, ‘box-like’
sound. Medium room sizes suggest a room or small hall, whereas large room sizes
suggest a large hall or cathedral. Again, there is no substitute for experimentation.
About the special effects programs
This section gives details of the effects programs available on the DN780 Reverb effect.
Direct signal
Effects such as ‘ADT’ and ‘Echo’ rely on a suitable level of direct (dry) signal being
added on the mixing console. Since this is largely a question of taste, no precise
instructions are included here. It is recommended that, as a general principle, direct
signal is initially set at a normal operation level without any effect present. The effect is
then increased in level as required.
“Delay” effect
PRE DELAY control knob adjusts the delay time within the range 0 to 2.0 seconds.
REV button mutes the effect.
Preset parameters: On selecting this effect program, delay is set to 200ms.
Stereo mix: The signals at left and right outputs are both delayed by the same amount
as set using the PRE DELAY control, that is, they are essentially monophonic.
Application Notes:
• Use this program to accurately balance echo return levels on the mixing console.
• In normal use, only one output should be used.
“ADT” effect
PRE DELAY control knob adjusts the delay time before the second voice is heard.
Delay is adjustable within the range 0 to 127ms.
PATTERN control knob selects the number and spacing of the second voices. Selection
is from Pattern 1 (two voices) to Pattern 5 (eight voices).
REV button mutes the effect.
Preset parameters: On selecting this effect program, delay is set to 40ms and pattern
is Pattern 5 (a wide multi-voiced effect).
Stereo mix: Left and right output signals use different delay taps to achieve a stereo
effect. Using only one output halves the number of ‘voices’, that is, Pattern 1 (one
voice) to Pattern 5 (four voices).
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Application Notes:
• Try delays from 25 to 50ms. Short delays reduce the effect, long delays produce
echo.
• Direct signal must be added at a suitable level on the mixing console. Try 50/50
direct/effect mix on Pattern 1, must less direct on Pattern 5.
• For conventional ADT, try ‘Delay’ of 40ms, Pattern 1, and use one output only,
panned, say, fully right. Pan direct signal fully left and use a 50/50 direct/effect mix.
“Multi-Tap Echo” effect
PRE DELAY control knob adjusts the time delay interval between the direct signal and
the first repeat. Delay is adjustable from 0 to 990ms.
PATTERN control knob selects the number and spacing of the repeats. Pattern 1 (two
repeats) to Pattern 9 (eight repeats).
DECAY control knob sets the feedback (regeneration) level for repeat echoes.
HF control knob allows the high frequency filtering to be applied to the regenerated
signal.
REV button mutes the effect.
Preset parameters: On selecting this effect program: delay is set to 196ms; pattern is
Pattern 4; decay is 73; and HF is 0. These settings give an effect similar to a typical
multi-head tape echo, but with full stereo image.
Stereo mix: Different delay taps are used for left and right outputs to achieve a stereo
effect. Using only one output halves the number of taps, that is, Pattern 1 (one tap),
Pattern 9 (four taps).
Application Notes:
• Set delay time as required, generally fairly short for multi-echoes (higher pattern
numbers), and longer for repeat echo. ‘Fine tune’ delay setting to set exact musical
timing for single tap repeat echoes.
• Direct signal must be added at a suitable level on the mixing console.
• For single tap repeat echo, start with Pattern 1, with ‘Delay’, ‘HF’ and ‘Decay’ all set
at maximum. Reduce parameters as required. Use one output only.
“Sound-On-Sound” effect
PRE DELAY control knob sets the ‘loop length’ and hence the timing of the effect
between 0 and 2.0 seconds.
LEVEL control knob provides 10 level increments of signal input to the ‘digital loop’.
Return level to ‘0’ after use to avoid noise build-up.
DECAY control knob sets the ‘erasure’ of the loop from ‘0’ (100% erasure) to ‘99’ (zero
erasure).
REV button clears memory of unwanted effect.
Preset parameters: On selecting this effect program: pre-delay is set to 2.0s; level
is 0; and decay is 99. These settings represent maximum loop length with zero
erasure. Please note that no sound will be heard until ‘level’ is increased.
Stereo mix: Outputs left and right are essentially identical. However, to avoid the
possibility of slight phase cancellations, it is recommended that only one output is used
on this program.
Application Notes:
• Since the ‘level’ inside the signal processor increases as fresh input is added, input
level must be lower than that recommended for normal use; try -15dB on the
376 Appendix D: Klark Teknik DN780 Reverb
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headroom indicator. Digital overload will be indicated by the red LED illuminating on
the headroom indicator.
• Correct pre-delay (‘loop length’) should be set before creating the effect as attempts
to alter this later will usually destroy part of the recorded sound.
• Remember to return level to ‘0’ immediately after used to avoid noise build-up.
“Infinite Room” effect
LEVEL control knob provides 10 level increments of signal input to the ‘infinite room’.
Return level to ‘0’ after use to avoid noise build-up.
REV button clears memory of unwanted effect.
Preset parameters: On selecting this effect program, level is 0. Please note that no
sound will be heard until ‘level’ is increased.
Stereo mix: Infinite room is a spacious, full stereo effect.
Application Notes:
• Since the ‘level’ inside the signal processor increases as fresh input is added, input
level must be less than that recommended for normal use; try -15dB on the
headroom indicator. Digital overload will be indicated by the red LED illuminating on
the headroom indicator.
• Remember to return level to ‘0’ immediately after used to avoid noise build-up.
“Alive”, “Non-Linear” and “Reverse” effects
PRE DELAY control knob sets the delay between the direct signal and the onset of the
effect. Maximum pre-delay is 990ms.
PATTERN control knob changes the density of the reflections, with 0 giving a low
density or ‘grainy’ character and 9 producing a high density effect.
DECAY control knob sets the length of the effect, from ‘1’ (short) to ‘12’ (long). The
display simply shows these increment numbers and is not calibrated in seconds.
LF control knob adjusts the low frequency content of the effect.
HF control knob adjusts the high frequency content of the effect.
REV button clears memory of unwanted effect.
Preset parameters:
• “Alive” - on selecting this effect program: pre-delay is 0s; pattern is 9; decay is 8; LF
is +1; and HF is +3.
• “Non-Linear” - on selecting this effect program: pre-delay is 0s; pattern is 4; decay
is 5; LF is 0; and HF is 0.
• “Reverse” - on selecting this effect program: pre-delay is 0s; pattern is 4; decay
is 12; LF is 0; and HF is +2.
Stereo mix: All these effects are in full stereo and are completely mono-compatible.
Application Notes:
• These three effects will find instant application in any recording studio engaged in
contemporary music production, as they allow pronounced acoustical enhancement
without the ‘muddying’ effect of longer, conventional decay envelopes. This makes
possible a bright and ‘punchy’ mix. These effects work well on most instruments,
but try “Non-Linear” for explosive snare sounds and “Reverse” on vocals.
• The “Alive” program produces a more natural, live ambience, which is less coloured
than the other two effects and has wide-ranging applications.
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Technical specifications
Audio
Frequency response +1, -2dB (20Hz to 12kHz)
Dynamic range 85dB typical
Digital
Arithmetic processor 32-bit
Reverberation Hall, Plate, Chamber and Room, with five variations of each
Effects Alive, Non-Linear, Reverse, Delay, ADT, Multitap Echo,
Sound-On-Sound and Infinite Room
Parameters
Pre-delay 0 to 990ms
Pattern (density) Adjustable 0 to 9 increments (Grainy to Dense)
Level (depth) Adjustable 0 to 9 increments (Distant to Close)
Decay time 0.1 to 18 seconds
Room size 8 to 90 metres linear dimension
LF decay Adjustable ±7 increments ref.
1kHz decay time
HF decay Adjustable ±7 increments ref.
1kHz decay time
Since the above reverberation parameters are optimised to ensure authentic acoustical
simulation, they are by necessity program-dependent.
Controls
Input mute Removes audio feed from reverberation section.
Reverb mute Clears unwanted reverberant signal.
Input level control From 6dB gain to infinite attenuation.
Headroom indicator 10-point LED display, 0dB to -27dB.
Display Simultaneous display of all parameter information.
Parameter selection and store functions are verified by
individual LEDs.
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379
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Appendix E: I/O Modules
There are three module slots (to the right of the rear panel of the PRO6) into which any
combination of the following modules can be fitted:
• DL441 analogue input module; see “DL441 analogue input module” on page 380.
• DL442 analogue output module; see “DL442 analogue output module” on page 381.
• DL443 analogue insert input/output module; see “DL443 analogue Jack I/O module”
on page 382.
• DL444 analogue D-type input/output module; see “DL444 analogue D-type I/O
module” on page 384.
• DL452 digital in/out (AES/EBU) module; see “DL452 digital I/O module” on
page 389.
Details of how to replace a module can be found in Appendix F “Replacing A Module”.
380 Appendix E: I/O Modules
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DL441 analogue input module
The DL441 analogue input module provides eight balanced line (or mic) inputs. Its rear
panel houses eight input XLRs, each with a check and a 48V LED.
The line inputs may be used as simple unity gain inputs to the PRO6, such as insert
returns. However, there is also provision for gain adjustment in 5dB steps from -5dB to
+40dB. This allows very high signal levels to enter the system and means that the
same hardware can be used for mic inputs, if required by the system.
When used for microphones the input can also provide 48-volt phantom power.
DL441 module connectors
Functional block diagram of the DL441 module
Item Description
1 Eight XLR analogue mic/line inputs.
2 Green check LED illuminates to show when a channel is selected on a
console. These are controlled by the console and are used as a visual aid to
locate specific connectors.
3 Red 48V LED illuminates to show that 48V phantom voltage is on.
2
3
1
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DL442 analogue output module
The DL442 analogue output module provides eight balanced line outputs. Its rear panel
houses eight output XLRs, each with a check and a mute LED.
The line outputs have no analogue level adjustment.
DL442 module connectors
Functional block diagram of the DL442 module showing 1 of 8 channel paths
Item Description
1 Eight XLR analogue outputs.
2 Green check LED illuminates to indicate when a channel is selected on the
console. These are controlled by the console and are used as a visual aid to
locate specific connectors.
3 Red mute LED illuminates to show when the channel is muted on the
console.
2
3
1
ADDRESS
DATA
SYSTEM
WORD CLOCK
LOCAL
PLL
D/A
Lo Pass
Filter
DIGITAL
IN
REMOTE
CONTROL
INTERFACE
MUTE
STATUS
LED
LINE
OUT
DIGITAL BACKPLANE SIGNALS
REMOTE
INTERROGATE
LED
+
-
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DL443 analogue Jack I/O module
The DL443 Jack I/O module provides a reliable, robust, high quality option where
maximum connectivity is required at reduced cost. It has normalising and low latency,
and is of robust construction.
The DL443 Jack I/O module has a total of 16 ¼” Jack sockets providing eight outputs
(sends) and eight inputs (returns). Each output has a red mute status LED.
DL443 module connectors
Item Description
1 Eight jack sockets per inputs (returns) section and eight jack sockets per
outputs (sends) section.
2 Red mute LED on each outputs (sends) jack socket illuminates to show
when a channel is muted on the console.
2
11
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Functional block diagram of the DL443 module
384 Appendix E: I/O Modules
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DL444 analogue D-type I/O module
The DL444 D-type I/O module provides a high density analogue I/Os in a compact
module. The module incorporates current limited (5mA maximum) and short circuit
protected LED outputs, which are independently driven to protect the module from
external wiring faults. Status of the module’s LEDs can be monitored remotely.
The DL444 D-type I/O module has eight channels of premium mic preamps and eight
channels of premium output stage via two standard 25-way, D-type connectors. The
mic preamp is in 2.5dB steps, which is similar to the Midas DL431 Mic Splitter, but
without the splitting capability.
Each of the eight inputs has a red LED to show the on/off status of its +48V phantom
voltage. Similarly, each output has an LED to show whether its mute is on/off. A third
25-way D-type connector lets you view the status of all 16 LEDs remotely.
DL444 module connectors
Item Description
1 Standard D-type connector.
2 outputs D-type socket. This socket connects to up to eight analogue
outputs.
3 output mute LED. There are eight output mute LEDs, which show the
mute status of each of the eight analogue outputs.
3
1
2
6
5
11
4
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Functional block diagram of the a single (one of eight) analogue input of the DL444 module
4 remote status D-type socket. This socket is for connecting the I/Os to the
16 red LEDs to provide 48V phantom voltage status and mute status for the
inputs and outputs, respectively.
5 inputs D-type socket. This socket connects to up to eight analogue
mic/line inputs.
6 48V LED. There are eight 48V LEDs, which show the whether 48V
phantom voltage is on/off for each of the eight analogue inputs.
Item Description
REMOTE
CONTROL
INTERFACE
A/D
LOCAL
PLL
ADDRESS
DATA
SYSTEM
WORD CLOCK
DIGITAL
OUT
REMOTE +48V
STATUS LED
MIC/LINE INPUT
-2.5dB TO +45dBu
GAIN
“remote status”
CONNECTOR
“inputs”
CONNECTOR
DIGITAL BACKPLANE SIGNALS
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Functional block diagram of a single (one of eight) analogue output of the DL444 module
ADDRESS
DATA
SYSTEM
WORD CLOCK
LOCAL
PLL
D/A
Lo Pass
Filter
DIGITAL
IN
REMOTE
CONTROL
INTERFACE
DIGITAL BACKPLANE SIGNALS
+
-
“outputs”
CONNECTOR
REMOTE MUTE
STATUS LED
“remote status”
CONNECTOR
LINE OUT
LINE OUT
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Connecting to eight XLRs
You can connect either the inputs connector or outputs connector on the rear panel of
the DL444 module to eight XLRs. To do this you will need an adapter cable with a male,
25-way D-type at one end and eight XLRs at the other.
Note: Off-the-shelf adapter cables are easily obtainable.
Although generally you will be using XLRs as terminal I/O connections, it will depend on
your rack equipment, so these could be jacks, D-types, phonos etc.
Adapter cable connections for connecting the inputs or outputs connector to eight XLRs, using the
standard “Tascam” pinout configuration.
13
1
25
14
1
1
2
3
2
1
2
3
3
1
2
3
4
1
2
3
5
1
2
3
6
1
2
3
7
1
2
3
8
1
2
3
Male socket side
25-way, male
D-type connector
Cable side
XLR
22
9
21
2
14
1
16
3
15
19
6
18
8
20
7
25
12
24
11
23
10
5
17
4
Ground
Cold
Hot
Ground
Cold
Hot
Ground
Cold
Hot
Ground
Cold
Hot
Ground
Cold
Hot
Ground
Cold
Hot
Ground
Cold
Hot
Ground
Cold
Hot
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Pinouts for the remote status connector
Wire up the LED remote status cable as shown below. The LEDs should be suited to a
5mA current.
Pinouts for the remote status 25-way D-type chassis connector
13
12
11
10
9
8
7
1
2
3
4
5
6
14
15
16
17
18
19
25
24
23
22
21
+48V (8)
MUTE (7)
+48V (6)
MUTE (5)
+48V (4)
MUTE (3)
+48V (2)
MUTE (1)
MUTE (6)
+48V (7)
MUTE (8)
20
MUTE (4)
+48V (5)
Top
+48V (1)
MUTE (2)
+48V (3)
Rear of female D-type
socket connector
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DL452 digital I/O module
The DL452 digital I/O module provides four (stereo) AES/EBU inputs and outputs. Its
rear panel houses these I/Os in four pairs. Each input has a check and a sync LED and
each output has a check and a mute LED.
Each AES/EBU input can run at sample rates up to 96kHz (44.1Hz, 48kHz, 88.2kHz and
96kHz) using a sample rate converter (SRC). If the digital input is synchronous with
the system clocks, the SRC can be bypassed to remove approximately 1ms of delay,
which is inherent in the sample rate conversion process.
Each AES/EBU output can also run at sample rates up to 96kHz by using an (SRC).
There are two potential clock sources for the digital outputs: the system and the
coinciding digital input. When using the system to drive the digital outputs, the output
SRC is bypassed and the sample rate of the output is matched to the system. When the
digital input clocks are used to drive the digital outputs, the SRC is enabled and the
audio output is converted from the sample rate of the system to the sample rate of the
digital input.
DL452 module connectors
Item Description
1 Four pairs of digital AES3 (AES/EBU) XLR inputs and outputs.
2 Green check LED illuminates to show when a channel is selected on the
console. These are controlled by the console and are used as a visual aid to
locate specific connectors.
3 Red sync LED illuminates to show that a valid AES3 connection is present
on the digital input.
4 Red mute LED illuminates to show when the channel is muted on the
console.
2
3
2
4
1
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Functional block diagram of the DL452 module showing 1 of 4 channel paths
Clock
Control
CPLD
AUDIO
SYSTEMS
CLOCKS
SYSTEM
WORD CLOCK
LOCAL
PLL
12S
REMOTE
INTERROGATE
LED
DIGITAL BACKPLANE SIGNALS
SYNC
STATUS
LED
Digital Audio Out
12S
Digital Audio In
ADDRESS
DATA
SYSTEM
CONTROL
FPGA
Digital Audio
Transmitter
12S Digital Audio
SRC
CLOCKS
AES/EBU
OUT
Input
Clocks
Digital Audio
Receiver
12S Digital Audio
SRC
CLOCKS
AES/EBU
IN
Output
Clocks
REMOTE
INTERROGATE
LED
MUTE
STATUS
LED
Output Clocks
Input Clocks
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Appendix F: Replacing A Module
This appendix provides instructions on replacing a module on the rear panel of the PRO
Series Control Centre.
Replacing a module
The design of the PRO Series Control Centre makes I/O module replacement very easy
and straightforward. The I/O modules are situated at the rightmost side of the rear
panel of the PRO Series Control Centre, as shown below.
Typical rear view of the PRO Series Control Centre showing the position of the three
slots for the configurable I/O modules
There are three module positions and any of the modules mentioned in Chapter E “I/O
Modules” can be fitted. Each position has rack guides so that the modules can slide
easily in and out. Each module is securing with two screws.
>> To remove a module
1 Switch off and electrically isolate the PRO Series Control Centre, as detailed in
“Powering the system” on page 42.
2 Remove the two securing screws from the left and right sides of the module you
want to remove, as shown in the diagram below.
Position of the module securing screw and circular machined post at either end of a
module (rear of PRO Series Control Centre)
I/O modules (3-off)
Module securing screw
Circular machined post
Module securing screw
Circular machined post
392 Appendix F: Replacing A Module
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3 Using both hands, take hold of the circular machined posts and ease the module
out of the slot.
>> To fit a module
1 Make sure the PRO Series Control Centre is switched off and electrically isolated;
see “Powering the system” on page 42.
2 Offer up the rear of the module to the aperture in the module slot.
3 Carefully ease the module into the slot and then push it all the way in until it
reaches its fitted position.
Caution:
Be careful not damage the inside of the slot or the module itself by
using too much force when pushing the module into the slot. If you
feel some resistance, remove the module and try again.
4 Switch on the PRO Series Control Centre (see “To switch on the control centre” on
page 43) and check that the module is functioning correctly.
The PRO Series Control Centre recognises the type and position of every module in its I/
O rack. However, after fitting a new module, you may need to configure some of its
options; see Chapter 27 "Changing The User Settings" on page 247.
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Appendix G: Troubleshooting
This appendix gives details of problem diagnosis and rectification.
To help guarantee system robustness and reliability — probably the fundamental
requirements for live performance consoles — it is imperative to be able to test and
diagnose problems with any part of the system easily. The software of the PRO Series
has built-in tests to cater for this, but there are also external diagnostic facilities
available when these tests are cannot be carried out.
No audio
If you have set up your system and followed all of the instructions for obtaining audio,
but you are not hearing anything through the speakers, check the following:
• Make sure the appropriate ST buttons in the input fast strips are on (see “Masters
sections and pan control” on page 306).
• Make sure the appropriate ST buttons in the source a/b panels (monitors section of
the master bay) are on (see “solo (a and b) sections” on page 148).
• Make sure nothing is muted.
• Make sure no faders are set to minimum.
• Check that the VCA/group master faders are at unity gain.
• Use solo at selected points in the signal path to try and pinpoint where the signal is
being lost.
• Check for correct signal routing by making sure channel sources/destinations are
correctly assigned.
If you still don’t have any audio, contact Midas Technical Support.
Diagnostics
You can view the Diagnostics screen to get an overview of the current health and
status of the system. The Diagnostics screen shows real-time connectivity of the
system, the health of connected nodes and whether a device is configured or not. The
Diagnostics screen also includes a SWAP HYPERMAC button for changing the current
network from X to Y, and vice versa.
The status LED at the top of the screen, which is constantly displayed while the control
centre is switched on, is linked to the status of individual items on the Diagnostics
screen. You can click on it to see what is causing the error.
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An example of the Diagnostics screen, showing the three types of device condition.
The colour of each device, together with its link (if applicable), indicates its current
status, as shown in the following table.
Item Element Description
1 REDEOPLOY DSP
ROLES button
Copies all files to all DSPs. This is usually done after
a software upgrade.
2 CONFIG button Opens the AES50 Device Configuration window
(see Figure 14 “Typical AES50 Device Configuration
window” on page 92)
3 Column titles The columns house the following: Unconfigured
contains any units that have not been configured
during the patching procedure; Configured contains
configured units; Link shows the router/unit
connection; Stage Router/FOH Router contains the
appropriate router and any associated rack units; and
HyperMac shows the router/router connections.
4 SWAP
HYPERMAC
button
Swaps the active network from X to Y and the reverse
(see “Swapping the active network” on page 396).
12
3
4
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There is also an amber condition, which means that the item(s) is in error, but is not
contributing to the audio.
Viewing the status of the master controllers is particularly important, especially when
you wish to swap the active master controller (see “Swapping the active master
controller” on page 396), as it shows you which master controller is currently
controlling the network.
About the Diagnostics Inspector window
Clicking an item in the Diagnostics screen will open its Diagnostics Inspector
window, which provides detailed information, particularly if the item has an error
condition.
Typical Diagnostics Inspector window with the ‘ignore’ buttons at the lower right
corner
The ‘ignore’ buttons of the Diagnostics Inspector window let you configure the
PRO Series to ignore errors on selected/all items. This is an important feature
because there may be times when you are quite happy to work with a known
error(s), but will want to know when a new error occurs.
Note: Diagnostic Inspector windows are primarily for use by Midas service and
software engineers. By providing useful information, such as device health and status,
they aid fault diagnosis and rectification, and may help solve any problems that may
arise. Apart from using the ‘ignore’ buttons, it is unlikely that operators of the PRO
Series Control Centre will ever need to use this function.
State Description Unit status
Connection of
active link
Connection of
inactive link
Both the unit and
link are green
Good Good Good
Unit is green and
the link is red
Good Bad Not known
Unit is red and the
link is green
Malfunction Good Not known
Both the unit and
link are red
Not known Bad Bad
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Swapping the active network
In the highly unlikely event that the active network (X or Y) develops a malfunction,
you can swap over to the standby network, making this the active one.
Note: The swap function does not swap control data, as this non-audio data finds its
own way through the network. This allows the router to swap to the inactive link, even
if the active link is broken or removed.
>> To check the health of the active network
At the GUI, open the Diagnostics screen by choosing homeDiagnostics, and then
check the status of the active HyperMac link. If it is green the link is good, but if it is
red there is a problem and you should swap to the standby HyperMac link.
>> To swap the networks
1 At the GUI, open the Diagnostics screen by choosing homeDiagnostics.
2 Click SWAP HYPERMAC.
3 In the prompt window (shown
right), click OK. The active
and standby networks will
swap over.
Swapping the active master controller
Although it is highly unlikely that the active master controller (MC) will develop a
malfunction, should it ever happen you will need to activate the standby MC.
>> To swap the active master controller
1 At the GUI, choose homeFiles.
2 Click FILE SYNC.
3 In the Master Controller File Synchronisation window, click the MAKE
ACTIVE button of the standby MC (shown below). This will become the active
one.
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Elements of the Files screen and Master Controller File Synchronisation window
used for swapping the active MC
Synchronising the files
In exceptional circumstances the files may be out of synchronisation. For example,
after a new MC has been fitted and the system cannot determine which MC to use. In
this case you can choose which files you want synchronised.
>> To choose which file you want synchronised
1 At the GUI, choose homeFiles.
2 Click FILE SYNC.
3 In the Master Controller File Synchronisation window, click the MAKE
ACTIVE button of the MC containing the files you want to synchronise.
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Mapping a GUI screen to another bay
An important redundancy feature of the control centre lets you map either of the GUI
screens to its adjacent bay (mix or master). So, in the unlikely event either of the GUI
screens should fail, the other one can take its place if necessary.
>> To re-map a GUI screen
1 At the GUI screen you want to re-map, choose
home
PreferencesGeneral. Current
mapping is indicated by the translucent red
rectangle. For example, in the diagram right the
GUI screen is currently mapped to the mix bay.
2 In the Bay Select section diagram, click within
the other by area. For example, click the
master bay (shown right). The red translucent
highlight will now move to the master bay.
3 Choose homeDefault.
Reset switches
Caution!
Do not operate any of these switches during normal operation, as
they are for fault correction purposes only.
There are four reset switches, which are for
service use only. They are used for resetting
the X and Y master controllers, scan processor
and router.
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Troubleshooting automation
This section explains the error messages that you may see when using the control
centre’s automation.
Error messages
Error messages, which can appear when you are accessing the Files or Automation
screens, provide useful information on the condition that triggered them. Due to the
way the filing and automation systems interact with the internal processing system of
the control centre, not all error messages are indicative of a problem; some may appear
due to the current state of the system and just require a retry of the operation.
Error messages comprise two components — a first line of text containing the error
condition, followed on the next line by a description of the error (prefixed by the text
“response:”). The error condition text indicates the operation that may have triggered
the error message, while the error description text explains the reason for failure and,
in some cases, also provides information that may be useful to service engineers. The
following diagram shows a typical error message.
Typical error message window showing the main elements
>> To proceed after an error message appears
1 Heed the error message.
2 Click OK.
3 Take the appropriate action for that particular error. Refer to Table 21 “List of
error condition messages” on page 400 and Table 22 “List of error description
messages” on page 401.
Automation error messages
An automation error message may be generated by any of the following:
• An attempt to perform a copy and paste is ignored.
• Attempting to assign notes to a scene. The text “There was an error setting the
scene note” will be displayed.
• An attempt to assign MIDI data to a scene is ignored.
• An attempt to set the navigation mode, that is, switching rehearsal mode on or off,
is ignored.
• An attempt to skip/unskip a scene or point scene; see “Rehearsals” on page 210.
• An attempt to assign the default store option is ignored.
• An attempt to assign the rehearsal mode state for all scenes is ignored. (This
functionality is not available to the user.)
• An attempt to set the MIDI navigation mode is ignored. (This functionality is not
available to the user.)
• An attempt to modify the scene list mode is ignored.
Error condition (see “Error condition
messages” on page 400)
Error description (see “Error
description messages” on page 401)
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Error condition messages
The following table contains the possible error condition messages for both the file and
automation systems. These messages comprise the first line of the error message as
they appear on the GUI.
Table 21: List of error condition messages
System Type Error Message Fault Condition
File Failed to copy file Attempting to copy a file.
File Failed to delete file Attempting to delete a file.
File Failed to rename file Attempting to rename a file.
Automation Failed to copy point scene to
point scene
Attempting to copy one point scene
to another.
Automation Failed to create a new show Attempting to create a new show.
Automation Failed to delete point scene Attempting to delete a point scene.
Automation Failed to expand point scene
range
Attempting to expand point scene
range, that is, by inserting an extra
10 point scenes, for example,
expanding scene 10.00 will add
point scenes 10.10, 10.20 etc., up to
10.90.
Automation Failed to initiate point scene
storage
Attempting to initiate point scene
storage, that is, when clicking Store
on the GUI. (A successful outcome
is to display the ‘Store’ window.)
Automation Failed to insert point scene Attempting to complete point scene
storage by clicking OK after
selecting “Insert before scene”.
Automation Failed to load show Attempting to load a show file.
Automation Failed to recall last scene Attempting to recall the previous
scene to the control surface.
Automation Failed to recall Next scene Attempting to recall the next scene
to the control surface.
Automation Failed to recall Now scene Attempting to reload the current
scene or the current jog scene (if
any) to the control surface.
Automation Failed to rename point scene Attempting to rename a point scene.
Automation Failed to save file Attempting to save a currently
loaded file.
Automation Failed to save file to new
name
Attempting to save a currently
loaded show file to another file
name, that is, by using the Save As
button.
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Error description messages
The following table contains the possible error description messages for both the file
and automation systems, which will start on the second line of the error message. The
“Error Message” column in the table contains the error message text that immediately
follows the “response:” text. For ease of reference the table lists the error messages in
alphabetical order.
Table 22: List of error description messages
Automation Failed to store point scene Attempting to complete point scene
storage by clicking OK after
selecting “Store to empty scene”,
“Overwrite scene” or “Store to
empty scene”.
Automation Failed to unexpand point
scene range
Attempting to unexpand point scene
range. This is the opposite of
expanding the point scene range
(immediately above) and can only
be carried out if the 10 point scenes
to be unexpanded are empty.
Error Message System(s) Problem Solution
hexadecimal
number
<error code in
hexadecimal>
unknown error
code
File and
Automation
Indication of a possible
system error.
Note down the hexadecimal
value of the error code and
contact Midas Technical
Support, giving them this
value.
a
artefact clone
policy violation
File and
Automation
The cloning of this artefact
(file type) is not allowed.
Avoid using this type of
operation.
artefact creation
policy violation
File and
Automation
The creation of this file type
is not allowed.
Avoid using this type of
operation.
artefact deletion
policy violation
File and
Automation
The deleting of this file type
is not allowed.
Avoid using this type of
operation.
artefact import
violation
File and
Automation
The importing of this file type
is not allowed.
Avoid using this type of
operation.
artefact load
policy violation
File and
Automation
The loading of this file type is
not allowed.
Avoid using this type of
operation.
artefact rename
policy violation
File and
Automation
The renaming of this file type
is not allowed.
Avoid using this type of
operation.
artefact
replication policy
violation
File and
Automation
The replication of this file
type is not allowed.
Avoid using this type of
operation.
artefact save
policy violation
File and
Automation
The saving of this file type is
not allowed.
Avoid using this type of
operation.
attempt to
overwrite existing
data (overwrite
not enabled)
File and
Automation
The operation to save or copy
to the existing file is not
allowed, as files cannot be
overwritten.
Avoid using this type of
operation.
System Type Error Message Fault Condition
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b
bad device File and
Automation
Operation could not be
carried out because the
device, that is, the internal
compact flash of the PRO
Series or USB memory stick
(if connected), does not
contain the required directory
structure.
• If the device is the internal
compact flash of the PRO
Series, this could be an
indication of a serious
problem. Contact Midas
Technical Support.
• If the device is the USB
memory stick, check that the
device has not been
disconnected from the control
surface.
bad device ID File and
Automation
The device identifier has not
been recognised.
If you are exporting a file to a
USB memory stick, check
that it has not been
disconnected from the control
surface.
bad directory File and
Automation
The file system path does not
terminate in a directory.
This is highly unlikely to occur
in practice, but is an
indication of a serious error.
Contact Midas Technical
Support.
bad file File and
Automation
The file system path does not
terminate in a file.
This is highly unlikely to occur
in practice, but is an
indication of a serious error.
Contact Midas Technical
Support.
bad file artefact File and
Automation
The file has been detected as
not valid. Preferences, preset
library and show files are
validated by comparing their
actual attributes against the
corresponding fields stored in
the header of the file, such
as, file size, checksum etc.
Try again.
If still unsuccessful, and if the
file is a show file, try a
backup file, if one is
available.
bad file version File and
Automation
The preferences, preset
library or show file could not
be opened because its file
header version field was not
valid.
Try again.
If still unsuccessful, and if the
file is a show file, try a
backup file, if one is
available.
bad path File and
Automation
A file or directory is missing. This is an indication of a
serious error. Contact Midas
Technical Support.
bad point scene
ID
File and
Automation
The scene’s point scene ID
cannot be found.
Try again.
Error Message System(s) Problem Solution
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c
c-lib file error File and
Automation
Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
c-lib error File and
Automation
Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
c-lib process error File and
Automation
Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
d
device utilisation
policy violation
File and
Automation
The device is full. If necessary, backup some
files and delete them from
the device to free up some
memory.
e
empty point
scene index
File and
Automation
An attempt was made to
navigate an empty point
scene index.
Try again. If unsuccessful,
and if the file is a show file,
try a backup file, if one is
available.
event is already
active
Automation Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
f
failed to add to
lock list
File A device or file could not be
‘locked’ to prevent another
task accessing it while it is in
use.
Although, in practice, it is
highly unlikely to occur, this
error may indicate a serious
system failure. Contact
Midas Technical Support.
failed to add
scene
File and
Automation
The scene could not be
added.
Try again.
failed to allocate
memory
Automation The MC was unable to
allocate sufficient memory
(RAM) to complete the task.
Switch off the PRO Series
Control Centre and switch it
back on again.
If the problem persists, it
could be an indication of a
serious error. Contact Midas
Technical Support.
failed to configure
scope mask
Automation The ‘copy and paste through
scenes’ operation failed.
Try again. If repeated
attempts fail, contact Midas
Technical Support.
failed to create
show
Automation A new show could not be
created.
Try again. If repeated
attempts fail, contact Midas
Technical Support.
failed to
deschedule event
Automation Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
failed to schedule
event
Automation Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
Error Message System(s) Problem Solution
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i
immutable scene
(cannot delete
‘safe’ or ‘current’
scene)
File and
Automation
The operation on the current
or safe scene is not allowed.
The safe scene cannot be
edited or deleted and you
cannot store to it. Also, you
cannot delete the scene last
recalled to the control
surface. (Precludes the use
of the Now button.)
Avoid using these types of
operation.
j
jog position is
empty
Automation The current scene is empty. Avoid this type of operation
on an empty scene.
m
missing file File and
Automation
The required file cannot be
found.
Try again.
missing
navigation state
Automation Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
mtools lookup File and
Automation
Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
n
no CBMA access Automation Automation manager does
not have access to the
current control surface
settings.
Try again or try switching off
the PRO Series Control
Centre and then switching it
back on again.
If the problem persists,
contact Midas Technical
Support.
no next scene Automation There is no next scene
relative to the current
position in the scene list.
This is generated by recalling
the next scene when the
current scene is the last in
the scene list.
Avoid this operation on the
last scene in the cue list.
no previous scene Automation There is no previous scene
relative to the current
position in the scene list.
This is generated by recall
the last scene when the
current scene is 00.00, that
is, the safe scene.
Avoid this operation on the
safe scene.
no scene data Automation The scene contains no scene
notes or MIDI data.
Only carry out this type of
operation on a scene that
contains scene notes or MIDI
data.
no show loaded Automation There is no show loaded. Only carry out this type of
operation with a show loaded.
Error Message System(s) Problem Solution
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not in storing
state
Automation The Automation System was
momentarily unable to store
a scene.
Try again. If repeated
attempts fail, contact Midas
Technical Support.
null pointer File and
Automation
Critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
p
persistent storage
error
File and
Automation
The GUI or one of its
subsystems is out of date and
cannot interpret the new
failure modes.
Update the GUI and its
subsystems.
If the problem persists,
contact Midas Technical
Support.
point scene index
continuity error
File and
Automation
The show file being modified
is damaged.
This is an indication of a
serious error. Contact Midas
Technical Support.
point scene index
integrity error
File and
Automation
The show file being modified
is damaged.
This is an indication of a
serious error. Contact Midas
Technical Support.
point scene insert
error
File and
Automation
Failed to insert a point scene. This is highly unlikely to occur
in practice, but is an
indication of a serious error.
Contact Midas Technical
Support.
portable scene
format conversion
error
Automation The attempt to load a show,
which was last saved by an
MC built with a different
enum version, failed during
the scene conversion stage of
the loading process.
Try again. If repeated
attempts fail, contact Midas
Technical Support.
r
required device
has files that are
in use
File and
Automation
Another task is currently
accessing file(s) on the
device, that is, the internal
compact flash of the PRO
Series or USB memory stick
(if connected).
Try again.
required device is
locked
File and
Automation
Another task is currently
accessing the device, that is,
the internal compact flash of
the PRO Series or USB
memory stick (if connected).
Try again.
s
scene capacity
violation
File and
Automation
The scene cannot be stored
to the show file, as it already
contains the maximum
number of scenes allowed.
If necessary, delete one or
more of the other scenes.
The maximum capacity for a
show file is 500 scenes for a
512MB master controller
(MC) and 1000 scenes for a
1GB MC.
scene UID error File and
Automation
The file being modified is
damaged.
This is an indication of a
serious error. Contact Midas
Technical Support.
Error Message System(s) Problem Solution
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shell command
error
File and
Automation
This is a critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
source point
scene is empty
Automation Specified source scene is an
empty ‘slot’.
Only carry out this type of
operation on a scene that is
not empty.
specified file is
already locked
File and
Automation
Another task is currently
accessing the file
Try again.
specified file was
not found
File and
Automation
The file could not be found on
the specified device, that is,
the internal compact flash of
the PRO Series or USB
memory stick (if connected).
• If the device is the internal
compact flash of the PRO
Series, this could be an
indication of a serious
problem. Contact Midas
Technical Support.
• If the device is the USB
memory stick, check that the
device has not been
disconnected from the control
surface.
stdio stream error File and
Automation
This is a critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
stdio stream open
error
File and
Automation
This is a critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
stdio stream seek
error
File and
Automation
This is a critical internal error. This is an indication of a
serious error. Contact Midas
Technical Support.
storage policy
violation
File and
Automation
There has been a ‘storage
policy’ violation. (This is not
necessarily a critical error.)
Ensure that all software
components are up to date.
If the problem persists
Contact Midas Technical
Support.
t
the <file/
automation>
manager is not
registered
File and
Automation
The System Manager is
momentarily unavailable.
Try again.
u
unknown
parameter enum
value
Automation A parameter with a value that
was not valid was supplied to
the MC.
Try again. If this occurs
again, contact Midas
Technical Support.
Error Message System(s) Problem Solution
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Appendix H: Updating PRO Series Host
Software
This appendix shows you how to update the host software of the PRO Series and also its
associated networked devices.
About the PRO Series updater
The PRO Series has an update facility that provides an easy and straightforward method
of updating your system by letting you install the latest version of host software on the
PRO Series Control Centre and also any networked DLnnn units.
Basically, all you have to do is insert a memory stick containing a file of the latest
version of host software, select this file via the updater option from the GUI menu and
then start the updater. The updater then installs the latest host software on the control
centre and any DLnnn units connected in the system, while displaying the progress on
the special updater screen. When the updater has finished and you have exited from
the updater screen, the PRO Series Control Centre will automatically power cycle for the
upgrade to take effect. Your system should now be fully up to date.
By using the updater, you can install an earlier version of the host software on your
system if you should ever need to.
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About the updater screen
During installation the updater screen will appear. This screen lets you select the
system devices you want to upgrade and then start the update procedure. During the
update, it shows you how the procedure is progressing.
Figure 43: A typical updater display
Item Element Description
1 Menu Updater menu.
2 Quit button This updater menu button exits the updater.
3 Select All button This updater menu button selects all Midas devices
connected (and detected) in the PRO Series Live
Audio System.
4 Remove All
button
This updater menu button deselects all selected Midas
devices connected (and detected) in the PRO Series
Live Audio System.
5 Update Now
button
This updater menu button starts the update
procedure.
6 Pointer
The shape of the pointer is an arrowhead , but this
changes to a rotating roundel during the update
procedure.
7 Updater version
information
Shows you the PRO Series host software version that
the system will be updated to.
8 Device block See Table 23 below.
8
7
10
9
6
1
2 3 4 5
13
14
11
12
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Each device block on the updater screen represents a possible or actual device
connected in the system. The number inside the device block is the device’s ID, and
the colour of each device block indicates its update status. The following table explains
what each device block condition represents.
Table 23: Description of the updater screen device blocks
9 Status bar This green bar shows the progress of the current task
in the update procedure, as indicated by the text
immediately above.
10 Device area This area contains device blocks that each represent
an item of equipment in the PRO Series Live Audio
System.
11 Unit Status
window
This window, which opens when you move the pointer
over a device, gives you detailed information on the
device’s update progress.
12 Text Window name followed by device update status
information.
13 Text Detailed file information and installation status.
14 Text Shows the build that the device will be updated to.
Device block Description
Grey background — appears during the updater’s ‘triggering
upgrade client’ procedure. If its appearance doesn’t change
throughout the update procedure, either there is no device
connected in this position or one has not been detected.
Blue background without roundel — appears after the updater’s
‘triggering upgrade client’ procedure has finished to show you that
there is a device connected in this position.
Dark blue background with roundel — appears after this device
has been selected for update.
Gold background with roundel — this device is currently being
updated.
Green background — this device has successfully been updated.
Red background — this device’s update has failed.
This is an I/O device block, which has the unit type at the top.
Item Element Description
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Using the PRO Series updater
This section shows you how to update your PRO Series Live Audio System. However,
before you begin there are a few things you will need and some things you must do.
What you will need
Before you begin, check that you have the following:
• USB memory stick The USB memory stick (flash drive) must have enough
memory to store any shows that you will need to backup, plus an additional 150MB
of memory for the update package (that is, the file with a .tar extension). It should
also preferably be of USB 2.0 specification.
• Stable mains supply If the power drops at a critical point during the update, it is
possible — although unlikely — that this could cause some of the system
components not to function. A warning window opens before you start the update
procedure to remind you of this.
Preparation
Before you begin, do the following:
• Backup your shows It is likely that any shows will be erased when you power
cycle the PRO Series Control Centre following an update. We therefore recommend
that you backup your shows onto the USB memory stick (see “Saving your show files
to a USB memory stick” on page 123), and then copy them onto a PC. You will be
given the chance to do this during the update procedure, just before the update
begins.
• Check that everything is connected Make sure that everything on the system is
correctly connected, configured and functioning properly. Do this by checking the
Diagnostics screen (see “Diagnostics” on page 393).
• Switch off speakers During the update procedure the DSP and AES routing may
perform a number of resets during which the audio may not be in a controlled state.
We therefore recommend that you switch off any speakers connected to the system.
• Make sure you have enough time The update procedure may take quite a while
to complete, so make sure you have enough time before you start; a warning
window during the update procedure will remind you of this. We do not recommend
carrying out an update just before a performance.
• Configure the USB memory stick Create a folder at the top level (root directory)
of your USB memory stick called “DL3Upgrades”. Then, copy the latest update file
(DL3xxx.tar) into it.
Updating your system
WARNING!
UPGRADING YOUR SYSTEM WILL CAUSE THE CONSOLE TO LOSE
SYNCHRONISATION, WHICH CAN RESULT IN LOUD NOISES FROM
THE SYSTEM. ALWAYS MUTE THE PA AT THE AMPLIFIER/SPEAKER
BEFORE UPDATING YOUR SYSTEM.
Caution!
Do not switch off the power to any of the system devices while the
PRO Series Control Centre is carrying out the installation of the
host software.
The installation process is carried out with the PRO Series Control Centre fully powered
up and operational.
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>> To update your PRO Series Live Audio System with the latest version of
host software
1 Mute the PA at the amplifier/speaker. Refer to the WARNING at the beginning
of this section.
2 Insert the USB memory stick into the active USB socket of the PRO Series Control
Centre (see “Saving your show files to a USB memory stick” on page 123).
3 Depending on how many .tar files there are in the “DL3Upgrades” folder of the
USB memory stick, one of the following will happen:
• One .tar file The “Run upgrade
utility?” window (shown right) will
open.
• More than one .tar file The
multiple upgrades window will open,
which contains the text: “Multiple
Upgrades found. Select the required
upgrade from the Preferences>
Upgrade menu”.
4 Do one of the following:
• In the “Run upgrade utility?” window, click OK. (Clicking Cancel will cancel
the update procedure.)
• In the multiple upgrades window,
click OK. Then, at the appropriate
GUI screen, choose
home
PreferencesUpgrade
and click on the latest host software
.tar file (as shown right).
5 The updater will be launched, displaying
the following in the upper-left corner of
the screen.
The “PREPARING UPDATER” screen will open, and the status bar text will inform
you of the updater progress.
When the updater preparation has
finished (as shown right) the status bar
text will read “Select items for upgrade”.
6 Select the devices you want to update
by doing any of the following:
• Select all It is most likely that you
will want to select all of the devices,
so click Select All.
• Select a single device To select a
single device, click its device block.
• Deselect a single device To
deselect a selected device, click its device block.
• Deselect all To deselect all selected devices, click Remove All.
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7 Click Update Now. The following warning window will open.
Window with a warning about the mains power supply. Please read and observe
before continuing with the update procedure.
8 Click Upgrade now.
Window asking about backing up your shows and preferences
9 Do one of the following:
• To continue without backing up your shows/preferences, click No Thank You.
Caution!
Backing up your shows at this point by clicking Yes Please
overwrites any existing shows (.tar files) on your USB
memory stick, even if they are for other types of Midas digital
consoles.
• If you want to back up your shows/preferences, click Yes Please (see
Caution above). The PRO Series Control Centre will automatically write its
show/preferences files to the USB memory stick, overwriting any existing
ones.
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The update procedure will then
automatically start by uploading
files to the GUI/MC (as shown
right).
During the update procedure, leave
all of the system devices switched
on (see the Caution at the start of
this section).
Throughout the update procedure
the device blocks will change
colour according to their update
status (see Table 23 “Description of
the updater screen device blocks”
on page 409). The status bar will
show the progress of the current
action.
When the update procedure has
finished, an Upgrade complete
window will open (as shown right).
10 Click Ok to close the Upgrade
complete window.
11 Click Quit. The PRO Series Control
Centre and all the units will return
to normal operating mode.
If any units have failed to update,
instead of clicking Quit you can
select them and start the update
procedure again.
12 Power cycle the system by
switching the PRO Series Control
Centre and all of the system units
off and then on again.
13 When the system has powered up fully and the control centre is ready for normal
operation, repeat step 12 to ensure that the licensing system is enabled.
>> To update your PRO Series Live Audio System with a previous version of
host software
The procedure is the same as if you are installing the latest version of host software (as
detailed above), just select the file of the older software version you want from the
homePreferencesUpgrade submenu instead of the latest one.
414 Appendix H: Updating PRO Series Host Software
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415
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Appendix I: Documentation
This chapter gives details of all the user and supplementary documentation for the PRO
Series Live Audio Systems.
All of the documents mentioned in this chapter are currently supplied with the PRO
Series Live Audio Systems. They are supplied electronically in portable document
format (PDF) on appropriate media.
System user documentation
The following table shows the full suite of Midas PRO Series Live Audio System
documentation.
Document Name Description Part Number
PRO Series Live Audio
Systems Owner’s
Manual
Full user instructions for the PRO Series
Live Audio Systems (PRO3, PRO6 and
PRO9).
DOC02-
PROSERIES
PRO3 Control Centre
Quick Reference
Guide
Contains quick system set-up and
operation instructions for the PRO3
Control Centre.
DOC04-PRO3
PRO6 Control Centre
Quick Reference
Guide
Contains quick system set-up and
operation instructions for the PRO6
Control Centre.
DOC04-PRO6
PRO9 Control Centre
Quick Reference
Guide
Contains quick system set-up and
operation instructions for the PRO9
Control Centre.
DOC04-PRO9
DL251 Audio System
I/O Operator Manual
Full user instructions for the DL251 Audio
System I/O.
DOC02-DL251
DL351 Modular I/O
Operator Manual
Full user instructions for the
DL351 Modular I/O.
DOC02-DL351
DL371 Audio System
Engine Operator
Manual
Full user instructions for the DL371 Audio
System Engine.
DOC02-DL371
DL431 Mic Splitter
Operator Manual
Full user instructions for the DL431 Mic
Splitter.
DOC02-DL431
DL451 Modular I/O
Operator Manual
Full user instructions for the DL451
Modular I/O.
DOC02-DL451
GNU General Public
License (GPL) Booklet
Licensing information for Midas Digital
Equipment.
DOC04-GPL
416 Appendix I: Documentation
PRO Series Live Audio Systems
Owner’s Manual
Supplementary documentation
This section lists all the supplementary documentation available for the PRO Series Live
Audio Systems, which comprises manuals from the standard Midas and Klark Teknik
range of products. These documents are included as reference material to accompany
the PRO Series user documentation, particularly for the GEQs and internal effects.
• Klark Teknik DN370 Graphic Equaliser Operator Manual, part number
DOC02-DN370C.
• Klark Teknik DN780 Digital Reverberator/Processor Operator Manual.
• Klark Teknik Square ONE Dynamics Processor Operator Manual, part number
DOC02-SQ1DYNAMIC.
• Klark Teknik DN9331 Rapide Graphic Controller Operator Manual, part number
DOC02-DN9331.
• Klark Teknik DN9696 Recorder Operator Manual, part number DOC02-DN9696HM.
417
PRO Series Live Audio Systems
Owner’s Manual
Appendix J: Reference Tables
This appendix contains tables that may provide a useful reference.
Definition of the primary buses
The primary buses are shown in the following table.
Table 24: Definition of primary buses
Bus Description and option
Source and
destination
Aux • Mono aux mix pairs (contributions
taken pre-/post-fader, level and level)
• Stereo aux mix pairs (contributions
taken pre-/post-fader with own level and
pan)
• Subgroup style single (contributions
taken post-fader, mono)
• Subgroup style pairs (contributions
taken post-fader, main pan stereo)
• Mix minus style single (contributions
taken post-fader, mono)
• Mix minus style pairs (contributions
taken post-main, pan stereo)
From inputs (including
aux inputs set to input
channel mode) to aux
sends in the mix area
Matrix • Matrix mix mono pairs (contributions
taken pre-/post-fader, level and level)
• Matrix mix stereo pairs (contributions
taken pre-/post-fader with own level and
pan)
• Optional 5:1 subgroups
From inputs, auxes
and masters to matrix
outputs in the mix
area
Master • Master group style single (post-fader
mono)
• Master group style pair (post-fader,
pan stereo)
• Master SIS style (contribution is taken
post-pan and image SIS)
From inputs and
auxes to master
outputs (master area)
Solo • PFL stereo (or spread centre-panned
mono)
• AFL stereo (or spread centre-panned
mono)
• Optional 5:1
From anywhere to the
monitor outputs
(master area)
418 Appendix J: Reference Tables
PRO Series Live Audio Systems
Owner’s Manual
Navigating to the Patching screen
The following table shows you how to access the Patching screen from various other
GUI screen locations.
Table 25: Navigating to the Patching screen
Channel or
signal type
Location on GUI
screen area
Button
legend
Page
ref.
Opens the tab sheet in the ...
From section To section
Input channel Compressor processing
area - side chain section
MENU 281 Not affected Sidechains
Input channel Compressor processing
area
source 281 Not affected Sidechains
Input channel Gate processing area -
side chain section
MENU 281 Not affected Sidechains
Input channel Gate processing area source 281 Not affected Sidechains
Input channel Insert processing area dest 281 Ins. Sends Not affected
Input channel Insert processing area source 281 Not affected Ins. Ret.
Input channel Configuration processing
area
source 281 Not affected Inputs
Input channel Configuration processing
area - direct output
section
dest 281 Dir. Out Not affected
Return channel Insert processing area dest 316 Ins. Sends Not affected
Return channel Insert processing area source 316 Not affected Ins. Ret.
Return channel Configuration processing
area
source 316 Not affected Inputs
Aux channel Compressor processing
area - side chain section
MENU 315 Not affected Sidechains
Aux channel Compressor processing
area
source 315 Not affected Sidechains
Aux channel Insert/configuration
processing area
dest 315 Busses Not affected
Aux channel Insert/configuration
processing area - direct
input section
source 315 Not affected Dir. In
Aux channel Insert/configuration
processing area - insert
section
dest
315 Ins. Sends Not affected
Aux channel Insert/configuration
processing area - insert
section
source 315 Not affected Ins. Ret.
Matrix output
channel
Compressor processing
area - side chain section
MENU 317 Not affected Sidechains
Matrix output
channel
Compressor processing
area
source 317 Not affected Sidechains
Matrix output
channel
Insert/configuration
processing area
dest 317 Busses Not affected
Navigating to the Patching screen 419
PRO Series Live Audio Systems
Owner’s Manual
Matrix output
channel
Insert/configuration
processing area - direct
input section
source 317 Not affected Dir. In
Matrix output
channel
Insert/configuration
processing area - insert
section
dest 317 Ins. Sends Not affected
Matrix output
channel
Insert/configuration
processing area - insert
section
source 317 Not affected Ins. Ret.
Master output
channel
Compressor processing
area - side chain section
MENU 318 Not affected Sidechains
Master output
channel
Compressor processing
area
source 318 Not affected Sidechains
Master output
channel
Insert/configuration
processing area
dest 318 Busses Not affected
Master output
channel
Insert/configuration
processing area - direct
input section
source 318 Not affected Dir. In
Master output
channel
Insert/configuration
processing area - insert
section
dest 318 Ins. Sends Not affected
Master output
channel
Insert/configuration
processing area - insert
section
source 318 Not affected Ins. Ret.
Monitors Monitors screen - talk
input section
source 144 Not affected Mon.
Monitors Monitors screen -
external talk output
section
dest 144
Mon. Not affected
Monitors Monitors screen -
talkback input section
source 144 Not affected Mon.
Monitors Monitors screen - pfl
direct input section
source 144 Not affected Mon.
Monitors Monitors screen - afl
direct input left section
source 144 Not affected Mon.
Monitors Monitors screen - afl
direct input right
section
source 144 Not affected Mon.
Monitors Monitors screen -
external input L
section
source 144 Not affected Mon.
Monitors Monitors screen -
external input R
section
source 144 Not affected Mon.
Monitors Monitors screen -
monitor A output L
section
dest 144 Mon. Not affected
Channel or
signal type
Location on GUI
screen area
Button
legend
Page
ref.
Opens the tab sheet in the ...
From section To section
420 Appendix J: Reference Tables
PRO Series Live Audio Systems
Owner’s Manual
Monitors Monitors screen -
monitor A output R
section
dest 144 Mon. Not affected
Monitors Monitors screen -
monitor B output L
section
dest 144 Mon. Not affected
Monitors Monitors screen -
monitor B output R
section
dest 144 Mon. Not affected
Monitors Monitors screen -
monitor centre output
section
dest 144 Mon. Not affected
Monitors Monitors screen -
monitor LFE output
section
dest 144 Mon. Not affected
Channel or
signal type
Location on GUI
screen area
Button
legend
Page
ref.
Opens the tab sheet in the ...
From section To section
421
PRO Series Live Audio Systems
Owner’s Manual
Appendix K: Parameters Affected By
Scope
This appendix shows the parameters affected by scope.
Note: The parameter areas for the scopes (recall and store) and the safes are basically
the same. However, the way they are presented in this manual in their respective
appendices is different. This may provide you with a useful alternative when referring
to this material, should you prefer one more than the other (see
Appendix M "Parameters Protected By Safes" on page 469).
Introduction
This appendix shows you which parameters are or are not scoped when you select the
parameter sections in the channels, buses, groups, effects and GEQs on the Recall
Scope and Store Scope screens.
There is a section for each area (channel, bus, group, effect and GEQ) on each scope
screen, and these sections are then subdivided according to the processing areas in the
fast/channel strips on the control surface and GUI.
The following diagram shows typical examples of PRO Series Recall Scope and Store
Scope screens (with no parameter sections selected), and the table to the right shows
what the symbols in each section mean. In the table the orange letters in the Ref.
column are used in the tables throughout this appendix to help you quickly identify the
parameter sections.
Ref.
Parameter
section Symbol
A Routing
B All
C Mic Amp
D EQ
E Dyn
F Busses
G Mute
H Fader
422 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
In the tables in this appendix: Yes = scoped, No = not scoped and N/A = not
applicable.
Note: Some of the GUI displays in this appendix may look slightly different to the ones
on the PRO Series Control Centre you are using, as they may be taken from a different
type of PRO Series Live Audio System. For example, the PRO3 doesn’t have a
Matrix 9 - 16 section in the GUI channel strip and only has a maximum of six effects.
However, all of the parameters affected by scope still apply.
Overview
The following table shows the page references (in this chapter) of the control areas for
the channels, GEQs, effects and VCA groups.
Table 26: Reference to scope areas
Control area
Input Channels
Aux Returns
(Returns)
Aux Sends
(Auxes)
Matrix
(Matrices)
Masters
Graphic EQs
Assignable
Effects
Variable Control
Associations
(VCAs)
Patching Page
423
Page
433
Page
439
Page
447
Page
453
Page
460
Page
462
N/A
Configura-
tion
Page
424
Page
434
Page
440
Page
448
Page
454
N/A N/A N/A
Dynamics Page
426
N/A Page
441
Page
449
Page
455
N/A N/A N/A
Insert Page
427
N/A Page
442
Page
450
Page
456
N/A N/A N/A
EQ Page
428
N/A Page
443
Page
451
Page
457
N/A N/A N/A
Aux send Page
429
N/A N/A N/A N/A N/A N/A N/A
Matrix send Page
430
Page
436
Page
444
N/A Page
458
N/A N/A N/A
Fader Page
431
Page
437
Page
445
Page
452
Page
459
N/A N/A N/A
GEQ N/A N/A N/A N/A N/A Page
461
N/A N/A
Effects N/A N/A N/A N/A N/A N/A Page
463
N/A
Groups N/A N/A N/A N/A N/A N/A N/A Page
464
Inputs 423
PRO Series Live Audio Systems
Owner’s Manual
Inputs
Each scope screen has an Input Channels section that contains the requisite number
of input channels for its particular PRO Series Live Audio System.
Parameter sections per input channel. The number of input channels are
PRO Series-type dependent. This example is taken from a PRO9.
Patching
The following diagram details the scoped patching parameters of the input channels.
* Includes tape return and primary input sources.
ABC
D E F G H
Item Parameter
1 Input patching source
Yes* Yes*
No N/A N/A N/A N/A N/A
Input channels
Routing (A)
All (B)
Mic Amp (C)
EQ (D)
Dyn (E)
Busses (F)
Mute (G)
Fader (H)
A
B
C
D
E
F
G
H
1
Configuration
processing area in GUI
channel strip
424 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Configuration
The following diagram details the scoped mic parameters of the input channels.
ABCDEFGH
Item Parameter
1 Mic gain* N/A Yes Yes N/A N/A N/A N/A N/A
2 Digital trim*
N/A Yes Yes N/A N/A N/A N/A N/A
3 Direct output level
N/A Yes Yes N/A N/A N/A N/A N/A
4 Direct output
tap-off point
N/A Yes Yes N/A N/A N/A N/A N/A
5 Direct output mute
N/A Yes No N/A N/A N/A Yes N/A
6 Direct output patch
destination
N/A No No N/A N/A N/A N/A N/A
7 Input delay
N/A Yes Yes N/A N/A N/A N/A N/A
8 Hi pass filter: slope
in/out and rotary control
N/A Yes No Yes N/A N/A N/A N/A
9 Low pass filter: slope
in/out and rotary control
N/A Yes No Yes N/A N/A N/A N/A
10 48V
N/A Yes Yes N/A N/A N/A N/A N/A
11 30Hz filter
N/A Yes Yes N/A N/A N/A N/A N/A
12 Input phase
N/A Yes Yes N/A N/A N/A N/A N/A
A
B
C
D
E
F
G
H
11
8110
2
9
6
2
11
7
14
9
8
12
15
13
1/2
3
4
5
1
3
10
2
12
13
Input channel
overview in GUI
channel strip
Configuration
processing area in GUI
channel strip
14
5
Inputs 425
PRO Series Live Audio Systems
Owner’s Manual
* Depends on swap status.
13 Link
N/A No No No No No No No
14 Processing order
N/A Yes N/A Yes N/A N/A N/A N/A
15 Solo B assignment
N/A No No No No No No No
ABCDEFGH
Item Parameter
426 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram details the scoped compressor and gate parameters of the input
channels. Although it only shows the corrective compressor, it also applies to the
adaptive, creative and vintage compressors.
AB
C DEF G H
Item Parameter
1 Compressor: attack,
release, threshold,
ratio/range/[ratio],
make up, KNEE, MODE
N/A Yes N/A N/A Yes N/A N/A N/A
2 Compressor sidechain
source
No
N/A N/A N/A N/A N/A N/A N/A
3 Compressor sidechain:
IN, freq, and WIDTH
N/A Yes N/A N/A Yes N/A N/A N/A
4 Gate key in source No
N/A N/A N/A N/A N/A N/A N/A
5 Gate: attack, release,
hold, threshold,
ratio/range/[range]
N/A Yes N/A N/A Yes N/A N/A N/A
6 Gate sidechain: IN, freq,
and WIDTH
N/A Yes N/A N/A Yes N/A N/A N/A
A
B
C
D
E
F
G
H
1
1/5
1/5
1/5
3/6
1
Compressor
processing area in
GUI channel strip
Gate processing
area in GUI
channel strip
1
2
5
4
3
6
5
1/5
1
input channel
overview in GUI
channel strip
1
5
Inputs 427
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram details the scoped insert parameters of the input channels, and
shows the insert processing area in the GUI channel strip.
ABC D E F G H
Item Parameter
1 In/out Yes Yes N/A N/A N/A N/A N/A N/A
2 Insert send destination
N/A No N/A N/A N/A N/A N/A N/A
3 Insert return source
N/A No N/A N/A N/A N/A N/A N/A
A
B
C
D
E
F
G
H
2
3
1
1
Insert processing
area in GUI channel
strip
input channel
overview in GUI
channel strip
1
428 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram details the scoped parametric EQ parameters of the input
channels.
ABCDE F G H
Item Parameter
1 All filters: freq, gain,
width, SHAPE
N/A Yes N/A Yes N/A N/A N/A N/A
2 EQ in/out
N/A Yes N/A Yes N/A N/A N/A N/A
A
B
C
D
E
F
G
H
input channel
overview in GUI
channel strip
2
2
1
EQ processing
area in GUI
channel strip
1
Inputs 429
PRO Series Live Audio Systems
Owner’s Manual
Aux send
The following diagram details the scoped aux send parameters of the input channels.
Although it only shows aux buses 1 to 8, it also applies to aux buses 9 to 16.
You can scope individual bus sends. In column B (All), all sends are affected, and in
column F (Busses), individual sends can be scoped.
ABC D EFG H
Item Parameter
1 Send level N/A Yes N/A N/A N/A Yes N/A N/A
2 Send pan
N/A Yes N/A N/A N/A Yes N/A N/A
3 Send pre-fader on/off
N/A Yes N/A N/A N/A Yes N/A N/A
4 Send on/off
N/A Yes N/A N/A N/A Yes N/A N/A
A
B
C
D
E
F
G
H
4
3
4
3
1/2
1
4
3
4
3
4
3
Aux buses
processing area in
GUI channel strip
4
3
GUI input
fast strip
430 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Matrix send
The following diagram details the scoped matrix send parameters in the input channels.
Although it only shows matrix buses 1 to 8, it also applies to matrix buses 9 to 16
(PRO6 and PRO9 only).
* Bus send levels/panning can also be adjusted via the input channel overview
(GUI channel strip) by using drag in the aux and matrix panels.
You can scope individual bus sends. In column B (All), all sends are affected, and in
column F (Busses), individual sends can be scoped.
ABC E DF G H
Item Parameter
1 Send level* N/A Yes N/A N/A N/A Yes N/A N/A
2 Send pan*
N/A Yes N/A N/A N/A Yes N/A N/A
3 Send pre-fader on/off
N/A Yes N/A N/A N/A Yes N/A N/A
4 Send on/off
N/A Yes N/A N/A N/A Yes N/A N/A
A
B
C
D
E
F
G
H
4
3
4
3
1/2
4
3
4
3
4
3
4
1
3
GUI input
fast strip
Matrix buses
processing area in
GUI channel strip
Inputs 431
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram details the scoped fader parameters (including master routing) of
the input channels.
ABC D E FGH
Item Parameter
1 Stereo routing N/A Yes N/A N/A N/A N/A N/A Yes
2 Mono routing
N/A Yes N/A N/A N/A N/A N/A Yes
3 SIS select (required for
surround panning)
N/A Yes N/A N/A N/A N/A N/A Yes
4 Pan (includes all
surround sound
parameters)
N/A Yes N/A N/A N/A N/A N/A Yes
5 Mono level/SIS pan
N/A Yes N/A N/A N/A N/A N/A Yes
6 Fader position
N/A Yes N/A N/A N/A N/A N/A Yes
7 Channel mute
N/A Yes N/A N/A N/A N/A Yes No
8 Solo B assignment
N/A No N/A N/A N/A N/A N/A No
A
B
C
D
E
F
G
H
input channel
overview in GUI
channel strip
4
6
Masters processing
area in GUI
channel strip
8
5
3
4
2
1
425
3
6
7
1
1
2
4
3
7
4
1
2
5
3
9
10
432 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
9 Channel name N/A Yes N/A N/A N/A N/A N/A No
10 Channel colour
N/A Yes N/A N/A N/A N/A N/A No
ABC D E FGH
Item Parameter
Returns (Aux Returns) 433
PRO Series Live Audio Systems
Owner’s Manual
Returns (Aux Returns)
Each scope screen has 8 returns in the Aux Returns section.
Parameter sections per return channel. There are eight returns per PRO Series Control
Centre. This example is taken from a PRO9.
Patching
The following diagram details the scoped patching parameters of the return channels.
ABC D E F G H
Item Parameter
1 Input patching source N/A
Yes
1
1. Includes tape return and primary input sources.
N/A N/A N/A N/A N/A N/A
All (B)
Busses (F)
Mute (G)
Fader (H)
Routing (A)
Mic Amp (C)
EQ (D)
D
F
G
H
B
C
A
1
Configuration
processing area in
GUI channel strip
434 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Configuration
The following diagram details the scoped areas of the mic section in the return
channels.
ABCDEFGH
Item Parameter
1 Input zone N/A Yes Yes N/A N/A N/A N/A N/A
2 Link
N/A No No No No No No No
3 Gain of remote amplifier
N/A Yes Yes N/A N/A N/A N/A N/A
4 48V phantom gain
N/A Yes Yes N/A N/A N/A N/A N/A
5 30Hz filter
N/A Yes Yes N/A N/A N/A N/A N/A
D
F
G
H
B
C
A
1
2
DL351
Modular I/O
Configuration
processing area in
GUI channel strip
DL431 Mic
Splitter
3
4
3
4
5
3
4
DL451
Modular I/O
3
4
DL251 Audio
System I/O
Returns (Aux Returns) 435
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
Not applicable.
Insert
Not applicable.
EQ
Not applicable.
Aux send
Not applicable.
436 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Matrix send
The following diagram details the scoped parameters of the return channels. Although
it only shows matrix buses 1 to 8, it also applies to matrix buses 9 to 16 (PRO6 and
PRO9 only).
ABC D EFG H
Item Parameter
1 Send level N/A Yes N/A N/A N/A Yes N/A N/A
2 Send pan
N/A Yes N/A N/A N/A Yes N/A N/A
3 Send pre-fader on/off
N/A Yes N/A N/A N/A Yes N/A N/A
4 Send on/off
N/A Yes N/A N/A N/A Yes N/A N/A
D
F
G
H
B
C
A
4
3
4
3
1/2
4
3
4
3
1
Matrix buses
processing
area in GUI
channel strip
Returns (Aux Returns) 437
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram details the scoped fader (including master routing) parameters of
the return channels.
ABC D E FGH
Item Parameter
1 Stereo routing N/A Yes N/A N/A N/A N/A N/A Yes
2 Mono routing
N/A Yes N/A N/A N/A N/A N/A Yes
3 SIS select (required for
surround panning)
N/A Yes N/A N/A N/A N/A N/A Yes
4 Pan (includes all
surround sound
parameters)
N/A Yes N/A N/A N/A N/A N/A Yes
D
F
G
H
B
C
A
input channel
overview in GUI
channel strip
Masters processing
area in GUI
channel strip
8
5
3
4
2
7
1
4
1
2
5
3
9
10
6
6
31
5
4
2
7
438 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
5 Mono level/SIS pan N/A Yes N/A N/A N/A N/A N/A Yes
6 Fader position
N/A Yes N/A N/A N/A N/A N/A Yes
7 Channel mute
N/A Yes N/A N/A N/A N/A Yes N/A
8 Solo B assignment
N/A No N/A N/A N/A N/A N/A N/A
9 Channel name
N/A Yes N/A N/A N/A N/A N/A N/A
10 Channel colour
N/A Yes N/A N/A N/A N/A N/A N/A
ABC D E FGH
Item Parameter
Auxes (Aux Sends) 439
PRO Series Live Audio Systems
Owner’s Manual
Auxes (Aux Sends)
Each scope screen has 16 auxes in the Aux Sends section.
Parameter sections per aux channel. There are 16 auxes per PRO Series Control
Centre. This example is taken from a PRO9.
Patching
The following diagram details the scoped patching parameters of the aux channels.
ABC D E F G H
Item Parameter
1 Output patching N/A No N/A N/A N/A N/A N/A N/A
All (B)
EQ (D)
Dyn (E)
Busses (F)
Mute (G)
Fader (H)
E
F
G
H
B
D
1
Insert and
configuration
processing area in
GUI channel strip
440 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Configuration
The following diagram details the scoped configuration and direct input parameters of
the aux channels.
ABCDEFGH
Item Parameter
1 Bus mode N/A Yes N/A N/A N/A N/A N/A Yes
2 Bus trim
N/A Yes N/A N/A N/A N/A N/A Yes
3 Direct input source
N/A
Yes
1
1. Only when automate patching is on.
N/A N/A N/A N/A N/A N/A
4 Direct input level
N/A Yes N/A N/A N/A N/A N/A N/A
5 Direct input
pre-/post-
N/A Yes N/A N/A N/A N/A N/A N/A
6 Direct input mute
N/A Yes N/A N/A N/A N/A Yes N/A
7 Delay
N/A Yes N/A N/A N/A N/A N/A Yes
8 Link
N/A No N/A No No No No No
9 Process order
N/A Yes N/A Yes N/A N/A N/A N/A
E
F
G
H
B
D
6
9
1
2
3
4
5
6
9
7
Insert and configuration
processing area in GUI
channel strip
aux send overview in
GUI channel strip
8
4
Auxes (Aux Sends) 441
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Dynamics
The following diagram details the scoped compressor parameters of the aux channels.
Although only the corrective compressor is shown below, this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
ABC DEF G H
Item Parameter
1 Compressor: attack,
release, threshold,
ratio/range/[ratio],
make up, KNEE, MODE
N/A Yes N/A N/A Yes N/A N/A N/A
2 Sidechain source N/A N/A N/A N/A No N/A N/A N/A
3 Compressor sidechain:
IN, freq, and WIDTH
N/A Yes N/A N/A Yes N/A N/A N/A
E
F
G
H
B
D
3
1
1
Compressor
processing area in
GUI channel strip
1
2
3
aux send
overview in GUI
channel strip
442 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram details the scoped insert parameters of the aux channels.
ABC D E F G H
Item Parameter
1 In/out N/A Yes N/A N/A N/A N/A N/A N/A
2 Insert send destination
N/A No N/A N/A N/A N/A N/A N/A
3 Insert return source
N/A No N/A N/A N/A N/A N/A N/A
E
F
G
H
B
D
2
3
1
Insert and configuration
processing area in GUI
channel strip
1
aux send overview in
GUI channel strip
Auxes (Aux Sends) 443
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram details the scoped parameters in the EQ section of the aux
channels.
Aux send
Not applicable.
Aux preset
Not applicable.
ABCDE F G H
Item Parameter
1 All PEQ filters (all six
bands): freq, gain,
width, SHAPE (as
necessary)
N/A Yes N/A Yes N/A N/A N/A N/A
2 Parametric/Graphic type
N/A No N/A No N/A N/A N/A N/A
3 EQ in/out
N/A Yes N/A Yes N/A N/A N/A N/A
E
F
G
H
B
D
1
2
1
3
EQ processing
area in GUI
channel strip
444 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Matrix send
The following diagram details the scoped parameters in the aux channels. Although
only matrices 1 to 8 are shown below, this also applies to all matrices.
You can scope individual bus sends. In column B (All), all sends are affected, and in
column F (Busses), individual sends can be scoped.
ABC D EFG H
Item Parameter
1 Send level N/A Yes N/A N/A N/A Yes N/A N/A
2 Send pre-fader on/off
N/A Yes N/A N/A N/A Yes N/A N/A
3 Send on/off
N/A Yes N/A N/A N/A Yes N/A N/A
E
F
G
H
B
D
3
2
3
2
1
3
2
3
2
1
Matrix buses
processing
area in GUI
channel strip
Auxes (Aux Sends) 445
PRO Series Live Audio Systems
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Fader
The following diagram details the scoped fader and master routing parameters of the
aux channels.
ABC D E FGH
Item Parameter
1 Stereo routing N/A Yes N/A N/A N/A N/A N/A Yes
2 Mono routing
N/A Yes N/A N/A N/A N/A N/A Yes
3 SIS select (required for
surround panning)
N/A Yes N/A N/A N/A N/A N/A Yes
E
F
G
H
B
D
Masters processing
area in GUI
channel strip
8
5
3
4
2
7
1
6
6
31
5
4
2
7
aux send
overview in GUI
channel strip
4
1
2
5
3
9
10
446 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
4 Pan (includes ALL
surround sound
parameters)
N/A Yes N/A N/A N/A N/A N/A Yes
5 Mono level/SIS pan
N/A Yes N/A N/A N/A N/A N/A Yes
6 Fader position
N/A Yes N/A N/A N/A N/A N/A Yes
7 Channel mute
N/A Yes N/A N/A N/A N/A Yes No
8 Solo B assignment
N/A No N/A N/A N/A N/A N/A No
9 Channel name
N/A Yes N/A N/A N/A N/A N/A No
10 Channel colour
N/A Yes N/A N/A N/A N/A N/A No
ABC D E FGH
Item Parameter
Matrices 447
PRO Series Live Audio Systems
Owner’s Manual
Matrices
Each scope screen has a Matrix section.
Parameter sections per matrix channel. There are 16 matrices per PRO6 and PRO9, and
only eight on the PRO3. This example is taken from a PRO9.
Patching
The following diagram details the scoped patching parameters of the matrix channels.
ABC D E F G H
Item Parameter
1 Output patching N/A No N/A N/A N/A N/A N/A N/A
All (B)
EQ (D)
Dyn (E)
Mute (G)
Fader (H)
B
D
E
G
H
1
Insert and
configuration
processing
area in GUI
channel strip
448 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Configuration
The following diagram details the scoped parameters of the configuration and direct
input sections of the matrices channels.
ABCDEFGH
Item Parameter
1 Bus trim N/A Yes N/A N/A N/A N/A N/A Yes
2 Direct input source
N/A
Yes
1
1. Only when automate patching is on.
N/A N/A N/A N/A N/A N/A
3 Direct input level
N/A Yes N/A N/A N/A N/A N/A N/A
4 Direct input
pre-/post-
N/A Yes N/A N/A N/A N/A N/A N/A
5 Direct input mute
N/A Yes N/A N/A N/A N/A Yes N/A
6 Delay
N/A Yes N/A N/A N/A N/A N/A Yes
7 Link
N/A No N/A No No No No No
8 Process order
N/A Yes N/A Yes N/A N/A N/A N/A
9 Link fader mono
N/A Yes N/A N/A N/A N/A N/A Yes
10 Link fader stereo
N/A Yes N/A N/A N/A N/A N/A Yes
B
D
E
G
H
5
8
Insert and configuration
processing area in GUI
channel strip
matrix overview in
GUI channel strip
3
9
1
2
3
4
5
8
6
7
10
Matrices 449
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram details the scoped compressor parameters of the matrix
channels. Although only the corrective compressor is shown below, this is typically the
same for the other compressor modes (adaptive, creative, vintage and shimmer).
ABC DEF G H
Item Parameter
1 Compressor: attack,
release, threshold,
ratio/range/[ratio],
make up, KNEE, MODE
N/A Yes N/A N/A Yes N/A N/A N/A
2 Sidechain source N/A No N/A N/A No N/A N/A N/A
3 Compressor sidechain:
IN, freq, and WIDTH
N/A Yes N/A N/A Yes N/A N/A N/A
B
D
E
G
H
3
1
Compressor
processing area in
GUI channel strip
1
2
3
Input channel
overview in GUI
channel strip
1
450 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram details the scoped parameters in the insert section of the matrix
channels.
ABC D E F G H
Item Parameter
1 In/out N/A Yes N/A N/A N/A N/A N/A N/A
2 Insert send destination
N/A No N/A N/A N/A N/A N/A N/A
3 Insert return source
N/A No N/A N/A N/A N/A N/A N/A
B
D
E
G
H
2
3
1
Insert and
configuration
processing
area in GUI
channel strip
Matrices 451
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram details the scoped EQ parameters of the matrix channels.
Aux send
Not applicable.
Aux preset
Not applicable.
Matrix send
Not applicable.
ABCDE F G H
Item Parameter
1 All PEQ filters (all six
bands): freq, gain,
width, SHAPE (as
necessary)
N/A Yes N/A Yes N/A N/A N/A N/A
2 Parametric/Graphic type
N/A No N/A No N/A N/A N/A N/A
3 EQ in/out
N/A Yes N/A Yes N/A N/A N/A N/A
B
D
E
G
H
1
2
1
3
EQ processing
area in GUI
channel strip
452 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram details the scoped fader parameters of the matrix channels.
ABC D E FGH
Item Parameter
1 Fader position N/A Yes N/A N/A N/A N/A N/A Yes
2 Channel mute
N/A Yes N/A N/A N/A N/A Yes No
3 Solo B assignment
N/A No N/A N/A N/A N/A N/A No
4 Channel name
N/A Yes N/A N/A N/A N/A N/A No
5 Channel colour
N/A Yes N/A N/A N/A N/A N/A No
B
D
E
G
H
1
31
5
4
2
2
Fader processing
area in GUI
channel strip
1
4
5
2
3
Masters 453
PRO Series Live Audio Systems
Owner’s Manual
Masters
Each scope screen has three master channels (stereo left and right, and mono) in the
Masters section.
Parameter sections per master channel. There are 16 matrices per PRO6 and PRO9,
and only eight on the PRO3. This example is taken from a PRO9.
Patching
The following diagram details the scoped patching parameters of the master channels.
ABC D E F G H
Item Parameter
1 Output patching N/A No N/A N/A N/A N/A N/A N/A
All (B)
EQ (D)
Dyn (E)
Busses (F)
Mute (G)
Fader (H)
B
D
E
F
G
H
1
Insert and
configuration
processing
area in GUI
channel strip
454 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Configuration
The following diagram details the scoped parameters in the configuration and direct
input section of the master channels.
ABCDEFGH
Item Parameter
1 Bus trim N/A Yes N/A N/A N/A N/A N/A Yes
2 Direct input source
N/A
Yes
1
1. Only when automate patching is on.
N/A N/A N/A N/A N/A N/A
3 Direct input level
N/A Yes N/A N/A N/A N/A N/A N/A
4 Direct input
pre-/post-
N/A Yes N/A N/A N/A N/A N/A N/A
5 Direct input mute
N/A Yes N/A N/A N/A N/A Yes N/A
6 Delay
N/A Yes N/A N/A N/A N/A N/A Yes
7 Link
N/A No N/A No No No No No
8 Process order
N/A Yes N/A Yes N/A N/A N/A N/A
B
D
E
F
G
H
5
8
Insert and configuration
processing area in GUI
channel strip
master overview in
GUI channel strip
3
1
2
3
4
5
8
6
7
Masters 455
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram details the scoped compressor parameters of the master
channels. Although only the corrective compressor is shown below, this is typically the
same for the other compressor modes (adaptive, creative, vintage and shimmer).
ABC DEF G H
Item Parameter
1 Compressor: attack,
release, threshold,
ratio/range/[ratio],
make up (gain), KNEE,
MODE
N/A Yes N/A N/A Yes N/A N/A N/A
2 Sidechain source
N/A N/A N/A N/A No N/A N/A N/A
3 Compressor sidechain:
IN, freq, and WIDTH
N/A Yes N/A N/A Yes N/A N/A N/A
B
D
E
F
G
H
3
1
Compressor
processing area in
GUI channel strip
1
2
3
Input channel
overview in GUI
channel strip
456 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram details the scoped insert parameters of the master channels.
ABC D E F G H
Item Parameter
1 In/out N/A Yes N/A N/A N/A N/A N/A N/A
2 Insert send destination
N/A No N/A N/A N/A N/A N/A N/A
3 Insert return source
N/A No N/A N/A N/A N/A N/A N/A
B
D
E
F
G
H
2
3
1
Insert and
configuration
processing
area in GUI
channel strip
Masters 457
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram details the scoped EQ parameters of the master channels, and
shows the EQ processing area in the GUI channel strip.
Aux send
Not applicable
Aux preset
Not applicable
ABCDE F G H
Item Parameter
1 All PEQ filters (all six
bands): freq, gain,
width, SHAPE (as
necessary)
N/A Yes N/A Yes N/A N/A N/A N/A
2 Parametric/Graphic type
N/A No N/A No N/A N/A N/A N/A
3 EQ in/out
N/A Yes N/A Yes N/A N/A N/A N/A
B
D
E
F
G
H
1
1
2
3
EQ processing
area in GUI
channel strip
458 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Matrix send
The following diagram details the scoped matrix send parameters of the master
channels. Although only matrices 1 to 8 are shown below, this also applies to matrices
9 to 16 (PRO6 and PRO9 only).
You can scope individual bus sends. In column B (All), all sends are affected, and in
column F (Busses), individual sends can be scoped.
ABC D EFG H
Item Parameter
1 Send level N/A Yes N/A N/A N/A Yes N/A N/A
2 Send pre-fader on/off
N/A Yes N/A N/A N/A Yes N/A N/A
3 Send on/off
N/A Yes N/A N/A N/A Yes N/A N/A
B
D
E
F
G
H
3
2
3
2
1
3
2
3
2
1
Masters 459
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram details the scoped fader parameters in the masters section of
master channels, and shows the fader processing area in the GUI channel strip.
ABC D E FGH
Item Parameter
1 Fader position N/A Yes N/A N/A N/A N/A N/A Yes
2 Channel mute
N/A Yes N/A N/A N/A N/A Yes No
3 Solo B assignment
N/A No N/A N/A N/A N/A N/A No
4 Channel name
N/A Yes N/A N/A N/A N/A N/A No
5 Channel colour
N/A Yes N/A N/A N/A N/A N/A No
B
D
E
F
G
H
2
1
Fader processing
area in GUI
channel strip
1
2
3
4
5
460 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
GEQ rack
Each scope screen has up to five eight-slot racks in the Graphic EQs section, which can
contain a maximum of 36 GEQs (as shown below). The number of racks and GEQs are
configuration dependent.
Graphic EQs represented on the Recall Scope screen. Racks are always shown fully
populated, regardless of how many GEQs are configured. This example is taken from a
PRO9.
Note: A rack slot in the Graphic EQs section in equivalent to a the All scope area.
Patching
The following diagram details the scoped patching parameters of the GEQs, which are
shown on the Graphic GEQs screen (below).
ABC D E F G H
Item Parameter
1 Bus assignment/type N/A No N/A N/A N/A N/A N/A N/A
1
GEQ rack 461
PRO Series Live Audio Systems
Owner’s Manual
GEQ
The following diagram details the scoped parameters of the GEQs, and shows the GEQ
window on the GUI screen.
ABC D E F G H
Item Parameter
1 EQ band gains N/A Yes N/A N/A N/A N/A N/A N/A
2 HPF and LPF
N/A Yes N/A N/A N/A N/A N/A N/A
3 Notch filters
N/A Yes N/A N/A N/A N/A N/A N/A
4 GEQ mode (proportional/
constant Q)
N/A Yes N/A N/A N/A N/A N/A N/A
2
1
3
4
462 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Effects rack
Each scope screen has single eight-position effects rack in the Assignable Effects
section.
Assignable effects represented on the Recall Scope screen. Rack is always shown fully
populated, regardless of how many effects are configured. This example is taken from
a PRO9.
Note: A rack slot in the Assignable Effects section is equivalent to the All scope
area.
Patching
The diagram right shows the scoped
patching parameters of the effects, which
are on the Effects tab of the To section of
the Patching screen.
ABC D E F G H
Item Parameter
1 Input patching N/A No N/A N/A N/A N/A N/A N/A
1
Effects rack 463
PRO Series Live Audio Systems
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Effects
The following diagram details the scoped parameters of the effects, and shows the
effect window on the GUI screen.
ABC D E F G H
Item Parameter
1 Effect name N/A Yes N/A N/A N/A N/A N/A N/A
2 Effect colour
N/A Yes N/A N/A N/A N/A N/A N/A
3 Effect type
N/A Yes N/A N/A N/A N/A N/A N/A
4 All effect parameters
N/A Yes N/A N/A N/A N/A N/A N/A
1 and 2
3
4
464 Appendix K: Parameters Affected By Scope
PRO Series Live Audio Systems
Owner’s Manual
Groups
Each scope screen contains 10 VCA groups in the Variable Control Associates
section.
VCA groups represented on the Recall Scope screen. There are 10 VCA groups per
PRO Series Control Centre. This example is taken from a PRO9.
The following diagram shows the scoped parameters of the VCA groups.
ABC D E FGH
Item Parameter
1 VCA mute N/A Yes N/A N/A N/A N/A Yes N/A
2 VCA area A and B
N/A Yes N/A N/A N/A N/A N/A N/A
3 VCA fader level (required
for surround panning)
N/A Yes N/A N/A N/A N/A N/A Yes
All (B)
Mute (G)
Fader (H)
B
G
H
1
1
2
3
3
465
PRO Series Live Audio Systems
Owner’s Manual
Appendix L: Parameters Affected By
Automate Patching
This appendix shows the patching parameters (sources) that can be changed on a
per-scene basis in automation. These are only selectable when the Automate
Patching option of the Preferences scene is selected (see “Using patching in
automation” on page 208).
Note: Automate patching is not applicable to returns.
Inputs
The following input channel sources can be changed per scene.
Although the mic input and tape input sources are
automutable, that is, they can be changed per scene,
they are controlled by the input patching recall scope
area switch. They are not affected by the Automate
Patching function.
Item Parameter
1 Insert return source
2 Compressor side chain source
3 Gate key source
Insert processing area
Compressor processing area
1
2
3
Input patching recall
scope area switches
466 Appendix L: Parameters Affected By Automate Patching
PRO Series Live Audio Systems
Owner’s Manual
Auxes
The source of each aux channel can be
changed per scene.
Matrices
The destinations/sources of each
matrix channel can be changed per
scene.
Item Parameter
1 Insert return source
2 Direct in source
3 Compressor side chain
source
Item Parameter
1 Insert return source
2 Direct in source
3 Compressor side chain
source
Configuration
processing area
Compressor
processing area
1
2
3
Configuration
processing area
Compressor
processing area
1
2
3
Masters 467
PRO Series Live Audio Systems
Owner’s Manual
Masters
The destinations/sources of each
master channel can be changed per
scene.
Effects
Effect input sources can be changed per scene.
Patching screen showing the location of the effects in the Effects tab of the To
section. (PRO3 only has a maximum of six effects.)
Item Parameter
1 Insert return source
2 Direct in source
3 Compressor side chain
source
Configuration
processing area
Compressor
processing area
1
2
3
468 Appendix L: Parameters Affected By Automate Patching
PRO Series Live Audio Systems
Owner’s Manual
System devices
Sources for the outputs of external devices,
such as the DL251 Audio System I/O, DL351
Modular I/O, DL451 Modular I/O, DN9696
Recorder, etc., can be changed per scene. The
sources are selectable via the Stage I/O and
FOH I/O tabs in To section of the Patching
screen.
However, this does not include the I/O card
configuration.
Monitors
The following monitor sources, shown on the Monitors screen (see below), can be
changed per scene.
Item Parameter
1 Talk input source
2 Taklback input source
3 PFL direct input source
4 AFL direct input left source
5 AFL direct input right source
6 External monitor input left source
7 External monitor input right source
1
2
3
4
5
6
7
469
PRO Series Live Audio Systems
Owner’s Manual
Appendix M: Parameters Protected By
Safes
This appendix shows the parameters affected by each of the safe types (EQ, DYN,
MIC, AUTO, MUTE and FADER).
The parameter areas for the scopes (store and recall) and the safes are, basically the
same. However, the way they are presented in their respective appendices is different.
This may provide you with a useful alternative when referring to this material, should
you prefer one more than the other (see Appendix K "Parameters Affected By Scope" on
page 421).
Note: Some of the GUI displays in this appendix may look slightly different to the ones
on the PRO Series Control Centre you are using, as they may be taken from a different
type of PRO Series Live Audio System. For example, the PRO3 doesn’t have a
Matrix 9 - 16 section in the GUI channel strip. However, all of the parameters
protected by the safes still apply.
Overview
The following table provides a quick reference for finding the channel/group safe areas
in this appendix.
Channel
or Group
EQ safe DYN safe MIC safe AUTO safe MUTE safe FADER
safe
Input
channel
“EQ safe”
on
page 472
“DYN
(dynamic)
safe” on
page 473
“MIC safe”
on
page 475
“AUTO
(automatio
n) safe” on
page 476
“MUTE
safe” on
page 476
“FADER
safe” on
page 477
Aux “EQ safe”
on
page 480
“DYN
(dynamic)
safe” on
page 482
“MIC safe”
on
page 483
“AUTO
(automatio
n) safe” on
page 483
“MUTE
safe” on
page 484
“FADER
safe” on
page 485
Return N/A N/A “MIC safe”
on
page 488
“AUTO
(automatio
n) safe” on
page 489
“MUTE
safe” on
page 489
“FADER
safe” on
page 490
Matrix “EQ safe”
on
page 493
“DYN
(dynamic)
safe” on
page 495
“MIC safe”
on
page 496
“AUTO
(automatio
n) safe” on
page 496
“MUTE
safe” on
page 497
“FADER
safe” on
page 498
Master “EQ safe”
on
page 501
“DYN
(dynamic)
safe” on
page 503
“MIC safe”
on
page 504
“AUTO
(automatio
n) safe” on
page 504
“MUTE
safe” on
page 505
“FADER
safe” on
page 506
VCA group N/A N/A N/A “Automatio
n safe” on
page 508
“Mute
(MTE) safe”
on
page 509
“Fader
(FDR) safe”
on
page 510
470 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Inputs
The input safes are selected via the channel safes section of the channel strip in the
mix bay (control surface) or the input channel safes section of the configuration
processing area (GUI channel strip).
Inputs 471
PRO Series Live Audio Systems
Owner’s Manual
Input parameters not affected by the safes
The following input channel parameters are not affected by any of the safes.
Item Control Parameter
1 B switch Solo B on/off
2 SOLO switch Solo on/off
3 MIC switch Mic safe on/off
4 FADER/[FDR] switch Fader safe on/off
5 MUTE/[MTE] switch Mute safe on/off
6 AUTO/[AUT] switch Automation safe on/off
7 EQ switch EQ safe on/off
8 DYN switch Dynamic safe on/off
9 SOLO switch Direct output solo on/off
10 B switch Direct output solo B on/off
11 LNK switch Stereo linking on/off
3
4
5
7
6
10
9
3
7
8
654
11
8
1
2
2
11
Masters processing
area in GUI channel
strip
Configuration
processing area in
GUI channel strip
input channel
overview in GUI
channel strip
472 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
EQ safe
The following diagram details the parameters in the inputs affected by the EQ safe, and
shows the EQ processing area in the GUI channel strip.
Item Control(s) Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Selects treble shelving mode: peaking, bright,
classic or soft
6 SHAPE switch Selects bass shelving mode: peaking, deep,
classic or warm
7 SLOPE switch, high
pass control knob,
/[IN] switch
High pass filter
8 SLOPE switch, low
pass control knob,
/[IN] switch
Low pass filter
9 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
1
4
3
5/6
2
7
8
9
5
3
4
7
2
3
4
2
3
4
6
2
3
4
1
2
8
7
8
7
8
9
EQ processing area
in GUI channel
strip
input channel
overview in GUI
channel strip
Configuration
processing area in
GUI channel strip
Inputs 473
PRO Series Live Audio Systems
Owner’s Manual
DYN (dynamic) safe
The following diagram details the parameters in the inputs protected by DYN safe.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative and vintage).
Item Control Parameter
1 ON switch Compressor on/off
2 threshold control
knob
Compressor threshold
3 release control knob Compressor release
4 make up control
knob
Compressor make up gain
5 attack control knob Compressor attack
6 ratio/range/[ratio]
control knob
Compressor ratio
7 MODE pushbutton Compressor mode: corrective (shown above),
adaptive, creative or vintage
8 KNEE pushbutton Compressor knee: hard, medium or soft
9 IN switch Compressor sidechain in/out
10 freq control knob Compressor sidechain frequency
8
3/14
5/15
6/16
10/19
7
Compressor
processing area in
GUI channel strip
Gate processing
area in GUI
channel strip
17
2/13
4
input channel
overview in GUI
channel strip
2
13
1
12
14
17
13
16
15
19
18
20
3
2
4
8
9
7
10
11
6
5
1
12
11/20
9/18
474 Appendix M: Parameters Protected By Safes
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Owner’s Manual
11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
12 ON switch Gate on/off
13 threshold control
knob
Gate threshold
14 release control knob Gate release
15 attack control knob Gate attack
16 ratio/range/[range]
control knob
Gate range
17 hold control knob Gate hold
18 IN switch Gate sidechain in/out
19 freq control knob Gate sidechain frequency
20 WIDTH pushbutton Gate sidechain width: 2 Oct, 1 Oct or 0.3 Oct
Item Control Parameter
Inputs 475
PRO Series Live Audio Systems
Owner’s Manual
MIC safe
The following diagram details the parameters in the inputs protected by MIC safe.
Item Control Parameter
1 stage box control
knob*
Gain of remote amplifier
2 48V switch 48V phantom gain
3 30Hz switch 30Hz filter
4 gain trim control
knob*
Digital input trim
5 Delay control knob Delay time
6
Ø switch
Input phase invert on/off
3
12
4
4
3
5
6
1/4
7
8
1
2
6
input channel
overview in GUI
channel strip
Configuration
processing area in GUI
channel strip
4
Insert processing
area in GUI
channel strip
10
DL351
Modular I/O
DL431 Mic
Splitter
1
2
1
2
1
2
DL451
Modular I/O
1
2
DL251 Audio
System I/O
476 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
* Depends on swap status.
AUTO (automation) safe
All of the input channel parameters are protected by the AUTO safe — except, of
course, for the ones unaffected by the safes (see “Input parameters not affected by the
safes” on page 471).
MUTE safe
The following diagram details the parameters in the inputs protected by MUTE safe.
7 Control knob Direct output level
8 MODE switch Direct output tap-off point: “Post-fade and mute”,
“Pre-mute, pre-processing” or “Pre-mute, post-
processing”
Item Control Parameter
1 MUTE switch Mute on/off
2 MUTE switch Direct output mute on/off
Item Control Parameter
2
2
1
1
Configuration
processing area in
GUI channel strip
input channel
overview in GUI
channel strip
Masters
processing area in
GUI channel strip
2
Inputs 477
PRO Series Live Audio Systems
Owner’s Manual
FADER safe
The following diagram details the parameters in the inputs protected by FADER safe.
Item Control(s) Parameter
1 Fader Fader level
2 MON switch Mono routing on/off
3 ST switch Stereo routing on/off
4 SIS switch Spatial imaging system on/off
5 Panning control knobs Surround panning (includes all surround sound
parameters)
input channel
overview in GUI
channel strip
4
1
Masters processing
area in GUI
channel strip
4
5
2
3
525
4
1
3
3
2
4
4
5
3
2
5
4
GUI input
fast strip
478 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Auxes (Aux Sends)
The aux safes are selected via the channel safes section of the channel strip in the mix
bay (control surface) or the output channel safes section of the insert and
configuration processing area (GUI channel strip).
Auxes (Aux Sends) 479
PRO Series Live Audio Systems
Owner’s Manual
Aux parameters not affected by the safes
The following aux parameters are not affected by any of the safes.
Item Control Parameter
1 B switch Solo B on/off
2 SOLO switch Solo on/off
3 FADER/[FDR] switch Fader safe on/off
4 MUTE/[MTE] switch Mute safe on/off
5 AUTO/[AUT] switch Automation safe on/off
6 EQ switch EQ safe on/off
7 DYN switch Dynamic safe on/off
8 MIC switch Mic safe on/off
9 SOLO switch Direct input solo on/off
10 B switch Direct input solo B on/off
11 LNK switch Stereo linking on/off
12 Field GEQ assignment
2
3
4
5
7
6
9
10
11
8
12
67
54 3
1
2
8
Masters processing
area in GUI
channel strip
Insert and
configuration
processing area in
GUI channel strip
480 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
EQ safe
The following diagram details the parameters in the auxes protected by the EQ safe.
* Not shown in diagram.
Note: Although band 6 is not shown above, the items in the table also apply. This
band has items 2, 3 and 4, and also item 7.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
7* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
2
4
1
EQ processing
area in GUI
channel strip
1
3
2
5/6/7
4
3
2
4
3
2
6
3
2
3
4
4
5
aux send
overview in GUI
channel strip
Auxes (Aux Sends) 481
PRO Series Live Audio Systems
Owner’s Manual
Item Control Parameter
1 31 faders Fader positions
2 High pass filter control
knob
High pass filter cut off frequency
3 IN switch High pass filter in/out
4 Low pass filter control
knob
Low pass filter cut off frequency
5 IN switch Low pass filter in/out
6 EQ switch EQ in/out
7 SLOPE switch Selects low pass filter as 6dB or 12dB
8 Q switch Selects Q mode as proportional (PROP.) or
constant (CON.)
9 IN switch Switches 200Hz - 20kHz notch filter in/out
10 Notch filter control
knob
200Hz - 20kHz notch filter frequency
11 IN switch Switches 20Hz - 2kHz notch filter in/out
12 Notch filter control
knob
20Hz - 2kHz notch filter frequency
13 SLOPE switch Selects high pass filter as 6dB or 12dB
2
3
1
4
5
6
7
89
1011
1213
482 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
DYN (dynamic) safe
The following diagram details the parameters in the auxes protected by the DYN safe.
Only the corrective compressor is shown, but this is typically the same for the other
compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee selector: hard, medium and soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width (unlabelled): 2 Oct, 1
Oct or 0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode — corrective, adaptive,
creative, vintage or shimmer
11 make up control
knob
Compressor gain
3
Compressor
processing area in
GUI channel strip
aux send
overview in GUI
channel strip
3
11
5
6
7
2
10
9
8
4
10
9
8
4
3
11
2
5
6
7
1
1
Auxes (Aux Sends) 483
PRO Series Live Audio Systems
Owner’s Manual
MIC safe
The following diagram details the parameters in the auxes protected by the MIC
(configuration) safe.
AUTO (automation) safe
All of the aux channel parameters are protected by the AUTO (automation) safe —
except, of course, for the ones unaffected by the safes (see “Aux parameters not
affected by the safes” on page 479).
Item Control Parameter
1 Control knob Direct input level
2 PRE switch Direct input pre- in/out
1
2
1
Configuration
processing area in
GUI channel strip
aux send
overview in GUI
channel strip
484 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
MUTE safe
The following diagram details the parameters of the auxes protected by the MUTE safe.
Item Control Parameter
1 MUTE switch Mute on/off
2 MUTE switch Direct input mute on/off
2
1
1
Insert and
configuration
processing area in
GUI channel strip
Masters
processing area
in GUI channel
strip
Auxes (Aux Sends) 485
PRO Series Live Audio Systems
Owner’s Manual
FADER safe
The following diagram details the parameters of the auxes protected by the FADER
safe.
Item Control Parameter
1 Fader Fader level
2 ST switch Stereo routing
3 MON switch Mono routing
4 SIS switch Spatial imaging system in/out
5 Panning control knobs Surround sound panning (includes all surround
parameters)
6 bus trim control knob Bus trim level
Masters processing
area in GUI
channel strip
4
5
3
2
1
1
42
5
5
3
aux send
overview in GUI
channel strip
5
2
3
5
4
7
6
8
Insert and
configuration
processing area in
GUI channel strip
486 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Returns (Aux Returns)
The return safes are selected via the channel safes section of the channel strip in the
mix bay (control surface) or the input channel safes section of the configuration
processing area (GUI channel strip).
7 MODE switch Bus mode
8 delay control knob Delay time
Item Control Parameter
Returns (Aux Returns) 487
PRO Series Live Audio Systems
Owner’s Manual
Return parameters not affected by the safes
The following return parameters are not affected by any of the safes.
EQ safe
Not applicable.
DYN (dynamic) safe
Not applicable.
Item Control Parameter
1 B switch Solo B on/off
2 SOLO switch Solo on/off
3 MIC switch Mic safe on/off
4 FADER/[FDR] switch Fader safe on/off
5 MUTE/[MTE] switch Mute safe on/off
6 AUTO/[AUT] switch Automation safe on/off
7 EQ switch EQ safe on/off
8 DYN switch Dynamic safe on/off
9 LNK switch Stereo linking on/off
2
4
5
6
7
9
3
78
65 4
3
1
2
Masters processing
area in GUI
channel strip
Configuration
processing area in
GUI channel strip
488 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
MIC safe
The following diagram details the parameters in the returns protected by the MIC safe,
which are accessible via the DL431 Mic Splitter configuration (see “Device configuration
procedure” on page 90).
Item Control Parameter
1 Stage box control
knob
Mic gain
2 48V switch 48V phantom gain in/out
3 Flt switch
30Hz filter
1
in/out
1. Applies to tape and primary inputs.
4 Input zone switch Input zone in/out
5 gain trim control
knob
Digital trim
4 Input zone switch Input zone in/out
4
Configuration
processing area in
GUI channel strip
DL351
Modular I/O
DL431 Mic
Splitter
1
2
1
2
3
1
2
DL451
Modular I/O
1
2
DL251 Audio
System I/O
4
4
4
5
6
Returns (Aux Returns) 489
PRO Series Live Audio Systems
Owner’s Manual
AUTO (automation) safe
All of the return channel parameters are protected by AUTO (automation) safe —
except, of course, for the ones unaffected by the safes (see “Return parameters not
affected by the safes” on page 487).
MUTE safe
The following diagram details the parameters of the returns protected by the MUTE
safe.
Item Control Parameter
1 MUTE switch Mute on/off
1
1
Masters processing
area in GUI
channel strip
490 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
FADER safe
The following diagram details the parameters of the returns protected by the FADER
safe.
Item Control Parameter
1 Fader Fader level
2 ST switch Stereo routing
3 MON switch Mono routing
4 SIS switch Spatial imaging system in/out
5 Panning control knobs Surround panning (includes all surround sound
parameters)
1
42
5
5
3
Masters processing
area in GUI
channel strip
4
5
1
aux send
overview in GUI
channel strip
5
2
3
5
4
3
2
Matrices 491
PRO Series Live Audio Systems
Owner’s Manual
Matrices
The matrix safes are selected via the channel safes section of the channel strip in the
mix bay (control surface) or the output channel safes section of the insert and
configuration processing area (GUI channel strip).
492 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Matrix parameters not affected by the safes
The following matrix parameters are not affected by any of the safes.
Item Control Parameter
1 B switch Solo B on/off
2 SOLO switch Solo on/off
3 MIC switch Mic safe on/off
4 FADER/[FDR] switch Fader safe on/off
5 MUTE/[MTE] switch Mute safe on/off
6 AUTO/[AUT] switch Automation safe on/off
7 EQ switch EQ safe on/off
8 DYN switch Dynamic safe on/off
9 SOLO switch Direct input solo on/off
10 B switch Direct input solo B on/off
11 LNK switch Stereo linking on/off
12 Field GEQ assignment
2
4
5
6
8
7
9
10
11
3
12
78
65 4
1
2
3
Insert and
configuration
processing area in
GUI channel strip
Fader processing
area in GUI
channel strip
Matrices 493
PRO Series Live Audio Systems
Owner’s Manual
EQ safe
The following diagram details the matrix parameters protected by the EQ safe.
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4. Additionally, band 1 also has item 5, and band 6
also has item 7.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Selects band 1 shelving modes: bell, warm, high
pass 6dB or high pass 12dB
6 SHAPE switch Selects band 2 shelving modes: bell or high pass
24dB
7* SHAPE switch Selects band 6 shelving modes: bell, soft, low
pass 6dB or low pass 12dB
2
4
1
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
6
1
matrix overview in
GUI channel strip
494 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Item Control Parameter
1 31 faders Fader positions
2 High pass filter control
knob
High pass filter cut off frequency
3 IN switch High pass filter in/out
4 Low pass filter control
knob
Low pass filter cut off frequency
5 IN switch Low pass filter in/out
6 EQ switch EQ in/out
7 SLOPE switch Selects low pass filter as 6dB or 12dB
8 Q switch Selects Q mode as proportional (PROP.) or
constant (CON.)
9 IN switch Switches 200Hz - 20kHz notch filter in/out
10 Notch filter control
knob
200Hz - 20kHz notch filter frequency
11 IN switch Switches 20Hz - 2kHz notch filter in/out
12 Notch filter control
knob
20Hz - 2kHz notch filter frequency
13 SLOPE switch Selects high pass filter as 6dB or 12dB
2
3
1
4
5
6
7
89
1011
1213
Matrices 495
PRO Series Live Audio Systems
Owner’s Manual
DYN (dynamic) safe
The following diagram details the matrix parameters protected by the DYN safe. Only
the corrective compressor is shown, but this is typically the same for the other
compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee selector: hard, medium and soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width selector: 2 Oct, 1 Oct
and 0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode selector — corrective, adaptive,
creative, vintage or shimmer
11 make up control
knob
Compressor gain
Compressor
processing area in
GUI channel strip
3
11
5
6
7
2
10
9
8
4
10
9
8
4
3
11
2
5
6
7
3
matrix overview
in GUI channel
strip
1
1
496 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
MIC safe
The following diagram details the matrix parameters protected by the MIC
(configuration) safe.
AUTO (automation) safe
All of the matrix channel parameters are protected by AUTO (automation) safe —
except, of course, for the ones unaffected by the safes (see “Matrix parameters not
affected by the safes” on page 492).
Item Control Parameter
1 Control knob Direct input level
2 PRE switch Direct input pre- in/out
2
1
1
Insert and
configuration
processing area in
GUI channel strip
matrix overview
in GUI channel
strip
Matrices 497
PRO Series Live Audio Systems
Owner’s Manual
MUTE safe
The following diagram details the matrix parameters protected by the MUTE safe.
Item Control Parameter
1 MUTE switch Mute on/off
2 MUTE switch Direct input mute on/off
1
1
1
Insert and
configuration
processing area in
GUI channel strip
Fader processing
area in GUI
channel strip
498 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
FADER safe
The following diagram details the matrix parameters protected by the FADER safe.
Item Control(s) Parameter
1 Fader Fader level
2 bus trim control knob Bus trim level
3 delay control knob Delay time
4 ST switch, MON
switch
Linking to stereo/mono master fader switch
Fader processing
are in GUI
channel strip
1
1
4
4
2
3
Insert and
configuration
processing area in
GUI channel strip
matrix overview
in GUI channel
strip
2
Masters 499
PRO Series Live Audio Systems
Owner’s Manual
Masters
The master safes are selected via the channel safes section of the channel strip in the
mix bay (control surface) or the output channel safes section of insert and
configuration processing area (GUI channel strip).
500 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Master parameters not affected by the safes
The following shows you which master parameters are not affected by each safe.
Item Control Parameter
1 B switch Solo B on/off
2 SOLO switch Solo on/off
3 MIC switch Mic safe on/off
4 FADER/[FDR] switch Fader safe on/off
5 MUTE/[MTE] switch Mute safe on/off
6 AUTO/[AUT] switch Automation safe on/off
7 EQ switch EQ safe on/off
8 DYN switch Dynamic safe on/off
9 SOLO switch Direct input solo on/off
10 B switch Direct input solo B on/off
11 LNK switch Stereo linking
12 Field GEQ assignment
2
4
5
6
8
7
9
10
11
3
12
78
65 4
3
1
2
Insert and
configuration
processing area in
GUI channel strip
Fader processing
area in GUI
channel strip
Masters 501
PRO Series Live Audio Systems
Owner’s Manual
EQ safe
The following diagram details the master parameters protected by the EQ safe.
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4. Additionally, band 1 has item 6, and band 6 has
item 5.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Selects band 6 shelving modes: bell, soft, low
pass 6dB or low pass 12dB
6* SHAPE switch Selects band 1 shelving modes: bell, warm, high
pass 6dB or high pass 12dB
7 SHAPE switch Selects band 2 shelving modes: bell or high pass
24dB
2
4
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
6
1
1
master overview in
GUI channel strip
502 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Item Control Parameter
1 31 faders Fader positions
2 High pass filter control
knob
High pass filter cut off frequency
3 IN switch High pass filter in/out
4 Low pass filter control
knob
Low pass filter cut off frequency
5 IN switch Low pass filter in/out
6 EQ switch EQ in/out
7 SLOPE switch Selects low pass filter as 6dB or 12dB
8 Q switch Selects Q mode as proportional (PROP.) or
constant (CON.)
9 IN switch Switches 200Hz - 20kHz notch filter in/out
10 Notch filter control
knob
200Hz - 20kHz notch filter frequency
11 IN switch Switches 20Hz - 2kHz notch filter in/out
12 Notch filter control
knob
20Hz - 2kHz notch filter frequency
13 SLOPE switch Selects high pass filter as 6dB or 12dB
2
3
1
4
5
6
7
89
1011
1213
Masters 503
PRO Series Live Audio Systems
Owner’s Manual
DYN (dynamic) safe
The following diagram details the master parameters protected by the DYN safe. Only
the corrective compressor is shown, but this is typically the same for the other
compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 CMP switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee selector: hard, medium and soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode — corrective, adaptive,
creative, vintage or shimmer
11 make up control
knob
Compressor gain
5
1
3
11
5
6
7
10
9
8
4
2
10
9
8
4
3
11
2
5
6
7
1
Compressor
processing area in
GUI channel strip
master overview in
GUI channel strip
504 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
MIC safe
The following diagram details the master parameters protected by the MIC
(configuration) safe.
AUTO (automation) safe
All of the master channel parameters are protected by AUTO (automation) safe —
except, of course, for the ones unaffected by the safes (see “Aux parameters not
affected by the safes” on page 479).
Item Control Parameter
1 Control knob Direct input level
2 PRE switch Direct input pre- in/out
2
1
1
Insert and
configuration
processing area in
GUI channel strip
master overview in
GUI channel strip
Masters 505
PRO Series Live Audio Systems
Owner’s Manual
MUTE safe
The following diagram details the master parameters protected by the MUTE safe.
Item Control Parameter
1 MUTE switch Mute on/off
2 MUTE switch Direct input mute on/off
1
1
1
Insert and
configuration
processing area in
GUI channel strip
Fader processing
area in GUI
channel strip
506 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
FADER safe
The following diagram details the master parameters protected by the FADER safe.
Item Control Parameter
1 Fader Fader level
2 bus trim control knob Bus trim level
3 delay control knob Delay time
1
2
1
3
Groups 507
PRO Series Live Audio Systems
Owner’s Manual
Groups
The group safes — mute (MTE) and fader (FDR) — are selected via the VCA Groups
screen of the GUI (shown below).
EQ safe
Not applicable.
Dynamic safe
Not applicable.
Mic safe
Not applicable.
508 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Automation safe
The following diagram shows the parameters of the VCA groups protected by the MTE
(mute) safe.
Item Control Parameter
1 MUTE switch Mute on/off
2 B switch Solo B on/off
3 SOLO switch Solo on/off
4 Fader Fader level
2
1
3
4
1
3
4
Groups 509
PRO Series Live Audio Systems
Owner’s Manual
Mute (MTE) safe
The following diagram shows the parameters of the VCA groups protected by the MTE
(mute) safe.
Item Control Parameter
1 MUTE switch Mute on/off
1
1
510 Appendix M: Parameters Protected By Safes
PRO Series Live Audio Systems
Owner’s Manual
Fader (FDR) safe
The following diagram shows the parameters of the VCA groups protected by the FDR
(fader) safe.
Item Control Parameter
1 Fader Fader level
1
1
511
PRO Series Live Audio Systems
Owner’s Manual
Appendix N: Parameters Affected By
Copy And Paste
This appendix shows the input and output channel parameters affected by copy and
paste operations, which are selected via the copy and paste buttons on the GUI (see
“Using copy and paste” on page 118).
The structure of this appendix is intended to follow the way that copy and paste
operates, that is, by channel or processing area.
Note: Some of the GUI displays in this appendix may look slightly different to the ones
on the PRO Series Control Centre you are using, as they may be taken from a different
type of PRO Series Live Audio System. For example, the PRO3 doesn’t have a
Matrix 9 - 16 section in the GUI channel strip. However, all of the parameters affected
by copy and paste still apply.
Overview
The following table provides a quick reference for finding the copy and paste
parameters per channel in this appendix.
Control
area
Inputs Auxes Returns Matrices Masters
Config-
uration
“Configuration
” on page 512
“Configuration
” on page 520
“Configuration
” on page 526
“Configuration
” on page 529
“Configuration
” on page 534
Comp-
ressor
“Compressor”
on page 514
“Compressor”
on page 521
N/A “Compressor”
on page 530
“Compressor”
on page 535
Gate “Gate” on
page 516
N/A N/A N/A N/A
EQ
(GEQ)
“EQ” on
page 517
“EQ (GEQ)” on
page 522
N/A “EQ (GEQ)” on
page 531
“EQ (GEQ)” on
page 536
Bus
sends
“Bus sends” on
page 518
“Bus sends” on
page 524
“Bus sends” on
page 527
N/A N/A
Master
routing
/fader
section
“Master
routing” on
page 519
“Master
routing” on
page 525
“Master
routing” on
page 528
“Fader section”
on page 533
“Master
routing” on
page 538
512 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Inputs
This section shows you which input channel parameters are affected by copy and paste.
Configuration
The following diagram shows the parameters of the input configuration section affected
by copy and paste.
Item Control Parameter
1 gain trim control
knob
Digital trim
2
Ø switch
Phase invert on/off switch
3 Control knob Direct output level
4 B switch Direct output solo B on/off
5 Pushbutton Direct output tap-off point: “Post-fade and mute”,
“Pre-mute, pre-processing” and
“Pre-mute, post-processing”
6 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
7 delay control knob Delay time
8 stage box control
knob
Gain of remote amplifier
9
8
1
1
9
7
6
2
4
10
1/8
3
5
8
3
1
2
input channel
overview in GUI
channel strip
Configuration processing
area in GUI channel strip
and GUI input fast strip
6
Inputs 513
PRO Series Live Audio Systems
Owner’s Manual
9 30Hz filter switch 30Hz filter in/out
10 LINK OPT.
pushbutton
Stereo linking options
Item Control Parameter
514 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Compressor
This section shows the compression parameters of the input dynamics section affected
by copy and paste.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative and vintage).
Item Control Parameter
1 ON/[CMP] switch Compressor on/off
2 threshold control
knob
Compressor threshold
3 release control knob Compressor release
4 make up control
knob
Compressor make up gain
5 attack control knob Compressor attack
6 ratio/range/[ratio]
control knob
Compressor ratio
7 MODE pushbutton Compressor mode selector: corrective (shown
above), adaptive, creative and vintage
8 KNEE pushbutton Compressor knee: hard, medium or soft
9 IN switch Compressor sidechain in/out
8
3
5
6
10
7
Compressor
processing area in
GUI channel strip
17
2
4
input channel
overview in GUI
channel strip
2
1
3
2
4
8
9
7
10
11
6
5
1
11
9
Inputs 515
PRO Series Live Audio Systems
Owner’s Manual
10 freq control knob Compressor sidechain frequency
11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3
Oct
Item Control Parameter
516 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Gate
This section shows the gate parameters of the input dynamics section affected by copy
and paste.
Item Control Parameter
1 ON/[GTE] switch Gate on/off
2 threshold control
knob
Gate threshold
3 release control knob Gate release
4 attack control knob Gate attack
5 ratio/range/[range]
control knob
Gate range
6 hold control knob Gate hold
7 IN switch Gate sidechain in/out
8 freq control knob Gate sidechain frequency
9 WIDTH pushbutton Gate sidechain width: 2 Oct, 1 Oct or 0.3 Oct
3
4
5
8
Gate processing
area in GUI
channel strip
6
2
4
input channel
overview in GUI
channel strip
2
1
3
6
2
5
4
8
7
9
1
9
7
Inputs 517
PRO Series Live Audio Systems
Owner’s Manual
EQ
This section shows the parameters of the input EQ section affected by copy and paste.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Treble shelving mode: peaking, bright, classic or
soft
6 SHAPE switch Bass shelving mode: peaking, deep, classic or
warm
7 SLOPE pushbutton High pass filter slope 12dB or 24dB
8 SLOPE pushbutton Low pass filter slope 6dB or 12dB
9 high pass control
knob
High pass filter frequency
10 low pass control
knob
Low pass filter frequency
11
/[IN] switch
High pass filter in/out
12
/[IN] switch
Low pass filter in/out
1
4
3
5/6
2
7
8
5
3
4
7
2
3
4
2
3
4
6
2
3
4
1
2
8
9
10
11
12
EQ processing area
in GUI channel
strip
input channel
overview in GUI
channel strip
Configuration
processing area in
GUI channel strip
9
11
10
12
518 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Bus sends
This section shows the parameters of the input mix sections affected by copy and paste.
Note: Only matrix sends 1 to 8 are shown above, but a copy/paste operation affects all
aux and matrix sends.
Item Control Parameter
1 ON switch Bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 Control knob Bus level
1
3
1
3
2
4
1
3
1
3
1
3
Aux buses
processing area in
GUI channel strip
1
3
GUI input
fast strip
input channel
overview in GUI
channel strip
5
6
Inputs 519
PRO Series Live Audio Systems
Owner’s Manual
Master routing
This section shows the parameters of the input master routing affected by copy and
paste.
5 On switch Aux bus send on/off — only available when aux
bus is in group mode
6 MINUS switch Aux bus send mute on/off — only available when
aux bus is in mix minus mode
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
4 Panning control knobs Surround panning (includes all surround sound
parameters)
5 Fader Level
6 MUTE switch Mute on/off
7 B switch Solo B on/off
Item Control Parameter
input channel
overview in GUI
channel strip
4
5
Masters processing
area in GUI
channel strip
3
4
1
424
3
5
1
4
1
2
4
3
GUI input
fast strip
1
2
4
3
6
7
6
2
520 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Aux
This section shows you which aux channel parameters are affected by copy and paste.
Configuration
The following diagram shows the configuration parameters affected by copy and paste.
Item Control Parameter
1 MODE pushbutton Bus mode: mix, group or mix minus
2
bus trim control
knob
Bus trim level
3 Control knob Direct input level
4 B switch Direct input solo B on/off
5 PRE switch Direct input pre- in/out
6 delay control knob Delay time
7 C/O switch
Order of processing: Dyn.JIns.JEQ or
EQ
JIns.JDyn.
8 LINK OPT. button Stereo linking options
3
5
4
8
Insert and configuration
processing area in GUI
channel strip
aux send
overview in GUI
channel strip
1
2
3
6
7
7
2
Aux 521
PRO Series Live Audio Systems
Owner’s Manual
Compressor
This section shows the compression parameters of the dynamics section affected by
copy and paste. Only corrective compressor shown below, but this is typically the same
for the other compressor modes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain: 2 Oct, 1 Oct or 0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
3
Compressor
processing area in
GUI channel strip
aux send
overview in GUI
channel strip
3
11
5
6
7
2
10
9
8
4
10
9
8
4
3
11
2
5
6
7
1
1
522 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Gate
Not applicable.
EQ (GEQ)
This section shows the parameters of the EQ section, including the GEQ, affected by
copy and paste.
* Not shown in diagram.
Note: Although band 6 is not shown above, the items in the table also apply. The band
has items 2, 3 and 4, and also includes item 7.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
7* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
2
4
1
EQ processing
area in GUI
channel strip
1
3
2
5/6/7
4
3
2
4
3
2
6
3
2
3
4
4
5
aux send
overview in GUI
channel strip
Aux 523
PRO Series Live Audio Systems
Owner’s Manual
Item Control Parameter
1 31 faders Fader positions
2 High pass filter control
knob
High pass filter cut off frequency
3 IN switch High pass filter in/out
4 Low pass filter control
knob
Low pass filter cut off frequency
5 IN switch Low pass filter in/out
6 EQ switch EQ in/out
7 SLOPE switch Low pass filter: 6dB or 12dB
8 Q switch Q mode as proportional (PROP.) or constant
(CON.)
9 IN switch 200Hz - 20kHz notch filter in/out
10 Notch filter control
knob
200Hz - 20kHz notch filter frequency
11 IN switch 20Hz - 2kHz notch filter in/out
12 Notch filter control
knob
20Hz - 2kHz notch filter frequency
13 SLOPE switch High pass filter: 6dB or 12dB
2
3
1
4
5
6
7
89
1011
1213
524 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Bus sends
This section shows the parameters of the mix buses affected by copy and paste.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
matrix sends.
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
1
3
1
3
3
input channel
overview in GUI
channel strip
2
4
1
3
1
3
Aux buses
processing area in
GUI channel strip
5
6
Aux 525
PRO Series Live Audio Systems
Owner’s Manual
Master routing
This section shows all the parameters of the master routing section affected by copy
and paste.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
4 Panning control knobs Surround panning (includes all surround sound
parameters)
5 Fader Level
6 MUTE switch Mute on/off
7 B switch Solo B on/off
Masters processing
area in GUI
channel strip
3
4
6
5
5
31
4
4
2
6
aux send
overview in GUI
channel strip
4
1
2
4
3
7
1
2
526 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Return
This section shows you which return channel parameters are affected by copy and
paste.
Configuration
The following diagram shows the configuration parameters affected by copy and paste.
Compressor
Not applicable.
Item Control Parameter
1 Stage box control
knob
Gain of remote amplifier
2 LINK OPT. button Stereo linking options
2
Configuration
processing area in
GUI channel strip
DL351
Modular I/O
DL431 Mic
Splitter
1
1
1
DL451
Modular I/O
1
DL251 Audio
System I/O
Return 527
PRO Series Live Audio Systems
Owner’s Manual
Gate
Not applicable.
EQ
Not applicable.
Bus sends
This following diagram shows the return parameters of the mix sections affected by
copy and paste.
Note: Although only matrix sends 1-2 are referenced above, this applies to all 16
matrix sends.
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
1
3
1
3
3
2/4
1
3
1
3
Aux buses
processing area in
GUI channel strip
4
2/4
4
528 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Master routing
This section shows all the parameters of the master routing affected by copy and paste.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
4 Panning control knobs Surround panning (includes all surround sound
parameters)
5 Fader Level
6 MUTE switch Mute on/off
7 B switch Solo B on/off
5
31
4
4
2
Masters processing
area in GUI
channel strip
3
4
5
aux send
overview in GUI
channel strip
4
1
2
4
3
2
1
6
7
Matrix 529
PRO Series Live Audio Systems
Owner’s Manual
Matrix
This section shows you which matrix channel parameters are affected by copy and
paste.
Configuration
The following diagram shows the configuration parameters affected by copy and paste.
Item Control Parameter
1
bus trim control
knob
Bus trim level
2 Control knob Direct input level
3 B switch Direct input solo B on/off
4 PRE switch Direct input pre- in/out
5 delay control knob Delay time
6 C/O switch
Order of processing: Dyn.JIns.JEQ or
EQ
JIns.JDyn.
4
3
8
Compressor
processing area in
GUI channel strip
1
2
5
6
6
2
matrix overview
in GUI channel
strip
1
530 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Compressor
This section shows all the compression parameters of the dynamics section affected by
copy and paste.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3
Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
Compressor
processing area in
GUI channel strip
3
11
5
6
7
2
8
4
10
9
8
4
3
11
2
5
6
7
1
3
matrix overview
in GUI channel
strip
10
9
1
Matrix 531
PRO Series Live Audio Systems
Owner’s Manual
Gate
Not applicable.
EQ (GEQ)
This section shows the parameters of the EQ section (including the GEQ) affected by
copy and paste.
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4. Band 1 also has item 7, and band 6 also has item 5.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
7* SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
2
4
1
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
5
1
matrix overview
in GUI channel
strip
532 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Bus sends
Not applicable.
Item Control Parameter
1 31 faders Fader positions
2 High pass filter control
knob
High pass filter cut off frequency
3 IN switch High pass filter in/out
4 Low pass filter control
knob
Low pass filter cut off frequency
5 IN switch Low pass filter in/out
6 EQ switch EQ in/out
7 SLOPE switch Low pass filter: 6dB or 12dB
8 Q switch Q mode as proportional (PROP.) or constant
(CON.)
9 IN switch 200Hz - 20kHz notch filter in/out
10 Notch filter control
knob
200Hz - 20kHz notch filter frequency
11 IN switch 20Hz - 2kHz notch filter in/out
12 Notch filter control
knob
20Hz - 2kHz notch filter frequency
13 SLOPE switch High pass filter: 6dB or 12dB
2
3
1
4
5
6
7
89
1011
1213
Matrix 533
PRO Series Live Audio Systems
Owner’s Manual
Fader section
This section shows all the parameters of the master routing affected by copy and paste.
Item Control Parameter
1 MUTE switch Mute on/off
2 B switch Solo B on/off
3 Fader Level
2
Fader processing
area in GUI
channel strip
1
3
2
3
534 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Master
This section shows you which master channel parameters are affected by copy and
paste.
Configuration
The following diagram shows the configuration parameters affected by copy and paste.
Item Control Parameter
1
bus trim control
knob
Bus trim level
2 Control knob Direct input level
3 B switch Direct input solo B on/off
4 PRE switch Direct input pre- in/out
5 delay control knob Delay level
6 C/O switch
Order of processing: Dyn.JIns.JEQ or
EQ
JIns.JDyn.
7 LINK OPT. button Stereo linking options
4
3
7
Insert and configuration
processing area in GUI
channel strip
1
2
5
6
6
2
master overview
in GUI channel
strip
1
Master 535
PRO Series Live Audio Systems
Owner’s Manual
Compressor
This section shows the compression parameters of the dynamics section affected by
copy and paste. Only corrective compressor shown below, but typically the same for
the other compressor modes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3
Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
3
1
3
11
5
6
7
10
9
8
4
2
10
9
8
4
3
11
2
5
6
7
1
Compressor
processing area in
GUI channel strip
master overview in
GUI channel strip
536 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Gate
Not applicable.
EQ (GEQ)
The following diagram shows the parameters of the EQ section (including the GEQ)
affected by copy and paste.
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4. Band 1 also has item 7, and band 6 also has item 5.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
7* SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
1
EQ processing
area in GUI
channel strip
4
3
2
5/6/7
2
4
3
2
4
3
2
3
2
3
4
4
6
Master 537
PRO Series Live Audio Systems
Owner’s Manual
Bus sends
Not applicable.
Item Control Parameter
1 31 faders Fader positions
2 High pass filter control
knob
High pass filter cut off frequency
3 IN switch High pass filter in/out
4 Low pass filter control
knob
Low pass filter cut off frequency
5 IN switch Low pass filter in/out
6 EQ switch EQ in/out
7 SLOPE switch Low pass filter: 6dB or 12dB
8 Q switch Q mode as proportional (PROP.) or constant
(CON.)
9 IN switch 200Hz - 20kHz notch filter in/out
10 Notch filter control
knob
200Hz - 20kHz notch filter frequency
11 IN switch 20Hz - 2kHz notch filter in/out
12 Notch filter control
knob
20Hz - 2kHz notch filter frequency
13 SLOPE switch High pass filter: 6dB or 12dB
2
3
1
4
5
6
7
89
1011
1213
538 Appendix N: Parameters Affected By Copy And Paste
PRO Series Live Audio Systems
Owner’s Manual
Master routing
This section shows all the parameters of the master routing affected by copy and paste.
Item Control Parameter
1 MUTE switch Mute on/off
2 B switch Solo B on/off
3 Fader Level
1
1
Fader processing
area in GUI
channel strip
3
3
2
539
PRO Series Live Audio Systems
Owner’s Manual
Appendix O: Parameters Affected By
Stereo Linking
This appendix shows the parameters that are linked per control area (selectable
globally and per pair).
Note: Some of the GUI displays in this appendix may look slightly different to the ones
on the PRO Series Control Centre you are using, as they may be taken from a different
type of PRO Series Live Audio System. For example, the PRO3 doesn’t have a
Matrix 9 - 16 section in the GUI channel strip. However, all of the parameters affected
by stereo linking still apply.
Overview
The following table shows what parameters per control area are linked across a channel
pair.
Control area
Input
Channels
Aux Sends
(Auxes)
Aux Returns
(Returns)
Matrix
(Matrices) Masters
Input
Controls
See page 540 See page 551 See page 560 See page 565 See page 573
Direct
Output
See page 541 N/A N/A N/A N/A
Direct Input See page 541 See page 552 N/A See page 566 See page 574
Filters See page 542 N/A N/A N/A N/A
Dynamics See page 543 See page 553 N/A See page 567 See page 575
Insert See page 545 See page 554 N/A See page 568 See page 576
EQ See page 546 See page 555 N/A See page 569 See page 577
Bus Sends See page 547 See page 556 See page 562 N/A N/A
Master
Routing
See page 548 See page 557 See page 563 N/A N/A
Fader See page 549 See page 558 See page 564 See page 571 See page 578
Delay See page 550 See page 559 N/A See page 572 See page 579
540 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Inputs
This section shows the linked parameters of the input channels.
Input controls
The following diagram shows the input control parameters that are linked across a
channel pair.
* Applicable to tape and primary inputs.
Item Control Parameter
1 gain trim control knob Digital trim level
2 48V switch* 48V phantom voltage on/off
3 30Hz switch 30Hz filter in/out
4 C/O switch*
Order of processing: Dyn.JIns.JEQ or
EQ
JIns.JDyn.
3
1
3
4
2
Input channel
overview in GUI
channel strip
Configuration
processing area in GUI
channel strip
4
1
2
1
Inputs 541
PRO Series Live Audio Systems
Owner’s Manual
Direct output
The following diagram shows the direct output control parameters that are linked across
a channel pair.
Direct input
Not applicable.
Item Control Parameter
1 Control knob Direct output level
2 B switch Direct output solo B in/out
3 Pushbutton Direct output tap-off point: “Post-fade and mute”,
“Pre-mute, pre-processing” or “Pre-mute, post-
processing”
2
1
Input channel
overview in GUI
channel strip
Configuration
processing area in GUI
channel strip
3
542 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Filters
The following diagram shows the parameters of the filters section affected by stereo
linking.
Item Control Parameter
1 SLOPE pushbutton Low pass filter slope 6dB or 12dB
2
low pass control
knob
Low pass filter frequency
3
/[IN] switch
Low pass filter in/out
4
/[IN] switch
High pass filter in/out
5
high pass control
knob
High pass filter frequency
6 SLOPE pushbutton High pass filter slope 12dB or 24dB
1
3
2
6
4
5
6
1
Configuration
processing area in GUI
channel strip
5
4
2
3
Inputs 543
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram shows the compressor and gate parameters of the dynamics
section affected by stereo linking.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative and vintage).
Item Control Parameter
1 ON/[CMP] switch Compressor on/off
2 threshold control
knob
Compressor threshold
3 release control knob Compressor release
4 make up control
knob
Compressor make up gain
5 attack control knob Compressor attack
6 ratio/range/[ratio]
control knob
Compressor ratio
7 MODE pushbutton Compressor mode: corrective, adaptive, creative
or vintage
8 KNEE pushbutton Compressor knee: hard, medium or soft
9 IN switch Compressor sidechain in/out
10 freq control knob Compressor sidechain frequency
11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8
3/14
5/15
6/16
10/19
7
Compressor
processing area in
GUI channel strip
Gate processing
area in GUI
channel strip
17
2/13
4
input channel
overview in GUI
channel strip
2
13
1
12
14
17
13
16
15
19
18
20
3
2
4
8
9
7
10
11
6
5
1
12
11/20
9/18
544 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Note: The compressor and gate sidechains of stereo paired channels are always linked
such that they ensure the same amount of gain reduction is applied to both channels.
12 ON/[GTE] switch Gate on/off
13 threshold control
knob
Gate threshold
14 release control knob Gate release
15 attack control knob Gate attack
16 ratio/range/[range]
control knob
Gate range
17 hold control knob Gate hold
18 IN switch Gate sidechain in/out
19 freq control knob Gate sidechain frequency
20 WIDTH pushbutton Gate sidechain width (unlabelled) selector: 2 Oct,
1 Oct and 0.3 Oct
Item Control Parameter
Inputs 545
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram shows the parameters of the insert section affected by stereo
linking.
Item Control Parameter
1 INS switch Insert in/out
1
1
Insert processing
area in GUI channel
strip
input channel
overview in GUI
channel strip
1
546 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram shows the EQ parameters affected by stereo linking.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Treble shelving mode: peaking, bright, classic or
soft
6 SHAPE switch Bass shelving mode: peaking, deep, classic or
warm
1
4
3
5/6
2
5
3
4
2
3
4
2
3
4
6
2
3
4
1
2
EQ processing area
in GUI channel
strip
input channel
overview in GUI
channel strip
Inputs 547
PRO Series Live Audio Systems
Owner’s Manual
Bus sends
The following diagram shows the input bus sends affected by stereo linking.
Note: Although only aux sends 1-2 are referenced above, this also applies to all pairs of
aux and matrix sends.
Item Control Parameter
1 ON switch Bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked. (When
sending onto a stereo bus the send pan controls
are not linked.)
3 PRE switch Pre-fader on/off
4 level control knob Bus level
5 On switch Aux bus send on/off — only available when aux
bus is in group mode
6 MINUS switch Aux bus send mute on/off — only available when
aux bus is in mix minus mode
1
3
1
3
2
4
1
3
1
3
1
3
Aux buses
processing area in
GUI channel strip
1
3
GUI input
fast strip
input channel
overview in GUI
channel strip
5
6
548 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Master routing
The following diagram shows the parameters of the master routing affected by stereo
linking.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
input channel
overview in GUI
channel strip
Masters processing
area in GUI
channel strip
3
2
1
2
3
1
1
2
3
1
2
3
Inputs 549
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram shows the fader parameters affected by stereo linking.
Item Control Parameter
1 mono level/SIS
image control knob
Mono send level. (Only linked when SIS is out on
both channels and surround mode is not selected.)
2 Fader Fader level
3 B switch Solo B in/out
4 Panning control knobs Surround panning (includes all surround sound
parameters)
input channel
overview in GUI
channel strip
4
2
Masters processing
area in GUI
channel strip
1
4
41
2
4
4
GUI input
fast strip
4
3
550 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Delay
The following diagram shows the delay parameters affected by stereo linking.
Item Control Parameter
1 delay control knob Delay time
1
Configuration
processing area in GUI
channel strip
Aux 551
PRO Series Live Audio Systems
Owner’s Manual
Aux
This section shows the linked parameters of the aux channels.
Input controls
The following diagram shows the input control parameters that are linked across the
channel pair.
Item Control Parameter
1 bus trim control knob Bus trim level
2 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
2
1
2
Insert and configuration
processing area in GUI
channel strip
552 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Direct output
Not applicable.
Direct input
The following diagram shows the direct input control parameters that are linked across
the channel pair.
Filters
Not applicable.
Item Control Parameter
1 Control knob Direct input level
2 B switch Direct input solo B on/off
3 PRE switch Direct input pre- in/out
1
3
2
Compressor
processing area in
GUI channel strip
aux send
overview in GUI
channel strip
Aux 553
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram shows the compression parameters of the dynamics section
affected by stereo linking. Only corrective compressor shown below, but this is typically
the same for the other compressor modes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq. control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
3
Compressor
processing area in
GUI channel strip
aux send
overview in GUI
channel strip
3
11
5
6
7
2
10
9
8
4
10
9
8
4
3
11
2
5
6
7
1
1
554 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram shows the parameters of the insert section affected by stereo
linking.
Item Control Parameter
1 INS switch Insert in/out
Insert and configuration
processing area in GUI
channel strip
1
aux send overview in
GUI channel strip
Aux 555
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram shows the EQ and GEQ parameters affected by stereo linking.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
2
4
1
EQ processing
area in GUI
channel strip
1
3
2
5/6/7
4
3
2
4
3
2
6
3
2
3
4
4
5
aux send
overview in GUI
channel strip
8
556 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
* Not shown in diagram.
Note: Although band 6 is not shown above, the items in the table also apply. Band 6
has items 2, 3 and 4, and also includes item 7.
Bus sends
The following diagram shows the bus sends affected by stereo linking.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
pairs of matrix sends.
7* SHAPE switch Band 6 shelving modes: bell, soft, low pass 6dB or
low pass 12dB
8 GEQ All GEQ parameters. (GEQ parameters linked
when both linked channels have a GEQ assigned to
them.)
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked. (The pans
are not linked, only the sends levels are linked.)
3 PRE switch Pre-fader on/off
4 level control knob Bus level
Item Control Parameter
1
3
1
3
2
1
3
1
3
4
Matrix buses
processing area in
GUI channel strip
4
4
2
Aux 557
PRO Series Live Audio Systems
Owner’s Manual
Master routing
The following diagram shows the master routing parameters affected by stereo linking.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
Masters processing
area in GUI
channel strip
3
31
2
aux send
overview in GUI
channel strip
1
2
3
1
2
558 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram shows the fader parameters affected by stereo linking.
Item Control Parameter
1 Fader Level
2 B switch Solo B on/off
1
Masters processing
area in GUI
channel strip
2
1
Aux 559
PRO Series Live Audio Systems
Owner’s Manual
Delay
The following diagram shows the delay parameters affected by stereo linking.
Item Control Parameter
1 delay control knob Delay time
Insert and configuration
processing area in GUI
channel strip
1
560 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Return
This section shows the linked parameters of the return channels.
Input controls
The following diagram shows the parameters of the input controls affected by stereo
linking.
* Applies to tape and primary inputs.
Direct output
Not applicable.
Item Control Parameter
1 48V switch* 48V phantom voltage in/out
2 Flt switch* 30Hz filter in/out
Configuration
processing area in
GUI channel strip
1
DL351
Modular I/O
DL431 Mic
Splitter
1
1
1
DL451
Modular I/O
1
DL251 Audio
System I/O
2
Return 561
PRO Series Live Audio Systems
Owner’s Manual
Direct input
Not applicable.
Filters
Not applicable.
Dynamics
Not applicable.
Insert
Not applicable.
EQ
Not applicable.
562 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Bus sends
The following diagram shows the bus sends affected by stereo linking.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
pairs of matrix sends.
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked. (The pans
are not linked, only the sends levels are linked.)
3 PRE switch Pre-fader on/off
4 level control knob Bus level
1
3
1
3
4
4
2
2
1
3
1
3
4
Matrix buses
processing area in
GUI channel strip
Return 563
PRO Series Live Audio Systems
Owner’s Manual
Master routing
The following diagram shows the parameters of the master routing affected by stereo
linking.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
Masters processing
area in GUI
channel strip
3
31
2
aux return
overview in GUI
channel strip
1
2
1
2
3
564 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram shows the fader parameters affected by stereo linking.
Delay
Not applicable.
Item Control Parameter
1 mono level/SIS
image control knob
Mono send level. (Only linked when SIS is out on
both channels and surround mode is off.)
2 Fader Level
3 B switch Solo B on/off
4 Surround control
knobs
Surround panning levels
1
2
Masters processing
area in GUI
channel strip
aux return
overview in GUI
channel strip
3
441
4
Matrix 565
PRO Series Live Audio Systems
Owner’s Manual
Matrix
This section shows the linked parameters of the matrix channels.
Input controls
The following diagram shows the input control parameters that are linked across a
channel pair.
Direct output
Not applicable.
Item Control Parameter
1 bus trim control knob Bus trim level
2 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
Insert and configuration
processing area in GUI
channel strip
matrix overview
in GUI channel
strip
2
1
2
566 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Direct input
The following diagram shows the direct input control parameters that are linked across
a channel pair.
Filters
Not applicable.
Item Control Parameter
1 Control knob Direct input level
2 B switch Direct input solo B on/off
3 PRE switch Direct input pre- in/out
3
2
Compressor
processing area in
GUI channel strip
1
matrix overview
in GUI channel
strip
Matrix 567
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram shows the compressor parameters affected by stereo linking.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8 ratio range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
Compressor
processing area in
GUI channel strip
3
11
6
7
2
10
9
8
10
9
8
4
3
11
2
5
6
7
1
3
aux send
overview in GUI
channel strip
5
4
1
568 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram shows the parameters of the insert section affected by stereo
linking.
Item Control Parameter
1 INS switch Insert in/out
Insert and configuration
processing area in GUI
channel strip
1
aux send overview in
GUI channel strip
Matrix 569
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram shows the parameters of the EQ section affected by stereo
linking.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
2
4
1
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
6
8
1
matrix overview
in GUI channel
strip
570 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4. Band 1 also has item 7, and band 6 also has item 5.
Bus sends
Not applicable.
Master routing
Not applicable.
7* SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
8 GEQ All GEQ parameters. (GEQ parameters linked
when both linked channels have a GEQ assigned to
them.)
Item Control Parameter
Matrix 571
PRO Series Live Audio Systems
Owner’s Manual
Fader
The following diagram shows the fader parameters affected by stereo linking.
Item Control Parameter
1 B switch Solo B on/off
2 Fader Level
3 MON switch Link to mono master fader
4 ST switch Link to stereo master fader
4
3
Masters processing
area in GUI
channel strip
1
matrix overview
in GUI channel
strip
2
2
572 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Delay
The following diagram shows the delay parameters affected by stereo linking.
Item Control Parameter
1 delay control knob Delay time
Insert and configuration
processing area in GUI
channel strip
1
Master 573
PRO Series Live Audio Systems
Owner’s Manual
Master
This section shows the linked parameters of the master channels.
Input controls
The following diagram shows the input control parameters that are linked across a
channel pair.
Item Control Parameter
1 Control knob Bus trim level
2 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
2
Insert and configuration
processing area in GUI
channel strip
1
2
574 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Direct output
Not applicable.
Direct input
The following diagram shows the direct output control parameters that are linked across
a channel pair.
Filters
Not applicable.
Item Control Parameter
1 Control knob Direct input level
2 B switch Direct input solo B on/off
3 PRE switch Direct input pre- in/out
3
2
Configuration
processing area in
GUI channel strip
master overview
in GUI channel
strip
1
Master 575
PRO Series Live Audio Systems
Owner’s Manual
Dynamics
The following diagram shows all the compression parameters of the dynamics section
affected by stereo linking.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8 ratio range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
Compressor
processing area in
GUI channel strip
3
11
6
7
2
10
9
8
10
9
8
4
3
11
2
5
6
7
1
3
aux send
overview in GUI
channel strip
5
4
1
576 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
Insert
The following diagram shows the parameters of the insert section affected by stereo
linking.
Item Control Parameter
1 INS switch Insert in/out
Insert and configuration
processing area in GUI
channel strip
master overview in
GUI channel strip
1
Master 577
PRO Series Live Audio Systems
Owner’s Manual
EQ
The following diagram shows the parameters of the EQ section affected by stereo
linking.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
2
4
1
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
6
8
aux send
overview in GUI
channel strip
1
578 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4. Band 1 also has item 7, and band 6 also has item 5.
Bus sends
Not applicable.
Master routing
Not applicable.
Fader
The following diagram shows the fader parameters affected by stereo linking.
7* SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
8 GEQ All GEQ parameters. (GEQ parameters linked
when both linked channels have a GEQ assigned to
them.)
Item Control Parameter
1 B switch Solo B on/off
2 Fader Level
Item Control Parameter
2
Fader processing
area in GUI
channel strip
2
1
3
4
4
Master 579
PRO Series Live Audio Systems
Owner’s Manual
Delay
The following diagram shows the delay parameters affected by stereo linking.
3 SIS switch Route to surround on/off
4 Surround control
knobs
Surround panning levels
Item Control Parameter
1 delay control knob Delay time
Item Control Parameter
Insert and configuration
processing area in GUI
channel strip
1
580 Appendix O: Parameters Affected By Stereo Linking
PRO Series Live Audio Systems
Owner’s Manual
581
PRO Series Live Audio Systems
Owner’s Manual
Appendix P: Parameters Copied
Through Scenes
This appendix shows the parameters per section — selected from the Sections panel in
the Show Editor screen — that can be copied through scenes.
Typical Show Editor screen
Note: Some of the GUI displays in this appendix may look slightly different to the ones
on the PRO Series Control Centre you are using, as they may be taken from a different
type of PRO Series Live Audio System. For example, the PRO3 doesn’t have a
Matrix 9 - 16 section in the GUI channel strip. However, all of the parameters copied
through scenes are still the same.
582 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Inputs (input channels)
This section shows you which parameters for each of the input channels are affected by
copy through scenes.
Config sections
The following diagram shows the input channel configuration processing area
parameters copied through scenes.
Item Control Parameter
1 gain trim control
knob
Digital trim level
2
Ø switch
Phase on/off switch
3 Control knob Direct output level
4 MODE switch Direct output tap-off point: “Post-fade and mute”,
“Pre-mute, pre-processing” and
“Pre-mute, post-processing”
5 stage box control
knob*
Remote amplifier level
6 30Hz switch* 30Hz filter on/off
7 delay control knob Delay time
8 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
9 48V switch* 48V phantom voltage on/off
6
5
1
1
9
7
8
2
11
10
1/5
3
4
5
3
1
2
input channel
overview in GUI
channel strip
Configuration processing
area in GUI channel strip
and GUI input fast strip
8
10
9
9
Inputs (input channels) 583
PRO Series Live Audio Systems
Owner’s Manual
* Applies to primary and tape inputs.
10 MUTE switch Direct output mute on/off
11 B switch Direct output solo B on/off
Item Control Parameter
584 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Comp./Output Dyn
The following diagram shows the input channel compressor parameters copied through
scenes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative and vintage).
Item Control Parameter
1 ON/[CMP] switch Compressor on/off
2 threshold control
knob
Compressor threshold
3 release control knob Compressor release
4 make up control
knob
Compressor make up gain
5 attack control knob Compressor attack
6 ratio/range/[ratio]
control knob
Compressor ratio
7 MODE pushbutton Compressor mode: corrective, adaptive, creative
or vintage
8 KNEE pushbutton Compressor knee: hard, medium or soft
9 IN switch Compressor sidechain in/out
8
3
5
6
10
7
Compressor
processing area in
GUI channel strip
2
4
input channel
overview in GUI
channel strip
2
1
3
2
4
8
9
7
10
11
6
5
1
11
9
Inputs (input channels) 585
PRO Series Live Audio Systems
Owner’s Manual
Gates
The following diagram shows the input channel gate parameters copied through scenes.
10 freq control knob Compressor sidechain frequency
11 WIDTH pushbutton Compressor sidechain: 2 Oct, 1 Oct or 0.3 Oct
Item Control Parameter
1 ON/[GTE] switch Gate on/off
2 threshold control
knob
Gate threshold
3 release control knob Gate release
4 attack control knob Gate attack
5 ratio/range/[range]
control knob
Gate range
6 hold control knob Gate hold
7 IN switch Gate sidechain in/out
8 freq control knob Gate sidechain frequency
9 WIDTH pushbutton Gate sidechain width: 2 Oct, 1 Oct or 0.3 Oct
Item Control Parameter
3
4
5
8
Gate processing
area in GUI
channel strip
6
2
4
input channel
overview in GUI
channel strip
2
1
3
6
2
5
4
8
7
9
1
9
7
586 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
EQs
The following diagram shows the input channel EQ parameters copied through scenes.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Treble shelving mode: peaking, bright, classic or
soft
6 SHAPE switch Bass shelving mode: peaking, deep, classic or
warm
7 SLOPE pushbutton Low pass filter slope 6dB or 12dB
8 low pass control
knob
Low pass filter frequency
9
/[IN] switch
Low pass filter in/out
10
/[IN] switch
High pass filter in/out
11 high pass control
knob
High pass filter frequency
12 SLOPE pushbutton High pass filter slope 12dB or 24dB
1
4
3
5/6
2
12
7
5
3
4
7
2
3
4
2
3
4
6
2
3
4
1
2
8
9
10
11
12
EQ processing area
in GUI channel
strip
input channel
overview in GUI
channel strip
Configuration
processing area in
GUI channel strip
11
10
8
9
Inputs (input channels) 587
PRO Series Live Audio Systems
Owner’s Manual
Aux Sends
This section shows the parameters of the 16 aux sends per input channel that are
copied through scenes.
Note: Although only aux sends 1-2 are referenced above, this also applies to all pairs of
aux sends.
Item Control Parameter
1 ON switch Bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
5 On switch Aux bus send on/off — only available when aux
bus is in group mode
6 MINUS switch Aux bus send mute on/off — only available when
aux bus is in mix minus mode
1
3
1
3
2
4
1
3
1
3
1
3
Aux buses
processing area in
GUI channel strip
1
3
GUI input
fast strip
input channel
overview in GUI
channel strip
5
6
588 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Matrix Sends
This section shows the parameters of the matrix sends (eight on PRO3 and 16 on PRO6
and PRO9) per input channel that are copied through scenes.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
pairs of matrix sends.
Item Control Parameter
1 ON switch Bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
1
3
1
3
2
4
1
3
1
3
1
3
Aux buses
processing area in
GUI channel strip
1
3
GUI input
fast strip
Inputs (input channels) 589
PRO Series Live Audio Systems
Owner’s Manual
Fader Sections
This section shows all the parameters of the input channel master routing parameters
copied through scenes.
Recall Scope
For details, see “Inputs” on page 423.
Store Scope
For details, see “Inputs” on page 423.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
4 Panning control knobs Surround panning (includes all surround sound
parameters)
5 mono level/SIS
image control knob
Mono level (SIS off) or SIS image (SIS on)
6 Fader Level
7 MUTE switch Mute on/off
8 B control knob Solo B in/out
9 Field Channel name
input channel
overview in GUI
channel strip
4
6
Masters processing
area in GUI
channel strip
3
4
2
1
425
3
6
1
4
1
2
5
3
GUI input
fast strip
1
2
4
3
7
8
7
9
590 Appendix P: Parameters Copied Through Scenes
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Owner’s Manual
Routing
The following diagram shows the input channel routing parameters copied through
scenes.
* Only automated when automate patching is on.
Item Control Parameter
1 INS switch Insert in/out
2 Field Primary input source
3 Field Tape input source
4 Field Compressor sidechain source*
5 Field Gate key source*
6 Field Insert return source*
1
2/3
4
56
Aux Returns (return channels) 591
PRO Series Live Audio Systems
Owner’s Manual
Aux Returns (return channels)
This section shows you which parameters for each of the 16 return channels are
affected by copy through scenes.
Config sections
The following diagram shows the aux return parameters of the configuration processing
area copied through scenes.
Item Control Parameter
1 Stage box control
knob
Remote amplifier level
2 48V switch 48V phantom voltage on/off
3 Flt switch 30Hz filter in/out
4 input mode switch Input zone in/out
4
Configuration
processing area in
GUI channel strip
DL351
Modular I/O
DL431 Mic
Splitter
2
2
2
DL451
Modular I/O
2
DL251 Audio
System I/O
3
1
1
1 1
4
4
4
592 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Comp./Output Dyn
Not applicable.
Gates
Not applicable.
EQs
Not applicable.
Aux Sends
Not applicable.
Matrix Sends
The following diagram shows the parameters of the matrix sends (eight on PRO3 and 16
on PRO6 and PRO9) that are copied through scenes.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
pairs of matrix sends.
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
1
3
1
3
4
4
2
2
1
3
1
3
4
Matrix buses
processing area
in GUI channel
strip
Aux Returns (return channels) 593
PRO Series Live Audio Systems
Owner’s Manual
Fader Sections
The following diagram shows the parameters of the master routing processing area
copied through scenes.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
4 Panning control knobs Surround panning (includes all surround sound
parameters)
5 mono level/SIS
image control knob
Mono level (SIS off) or SIS image (SIS on)
6 Fader Level
7 MUTE switch Mute on/off
8 SOLO B/[B] switch Solo B in/out
3
6
Masters processing
area in GUI
channel strip
3
aux return
overview in GUI
channel strip
12
3
1
2
5 4
6
7
8
1
5
2 4
7
4
594 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Recall Scope
For details, see “Returns (Aux Returns)” on page 433.
Store Scope
For details, see “Returns (Aux Returns)” on page 433.
Routing
The following diagram shows the return channel routing parameters copied through
scenes.
Item Control Parameter
1 Field Primary input source
2 Field Tape input source
1/2
Configuration
processing area in
GUI channel strip
Aux Sends (aux channels) 595
PRO Series Live Audio Systems
Owner’s Manual
Aux Sends (aux channels)
This section shows you which parameters for each of the 16 aux channels are affected
by copy through scenes.
Config sections
The following diagram shows the parameters of the configuration processing area
copied through scenes.
Item Control Parameter
1 Control knob Direct input level
2 MUTE switch Direct input mute on/off
3 B switch Direct input solo B in/out
4 PRE switch Direct input pre- in/out
1
4
3
Insert and configuration
processing area in GUI
channel strip
aux send
overview in GUI
channel strip
2
3
596 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Comp./Output Dyn
The following diagram shows the parameters of the compressor processing area copied
through scenes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
3
Compressor
processing area in
GUI channel strip
aux send
overview in GUI
channel strip
3
11
5
6
7
2
10
9
8
4
10
9
8
4
3
11
2
5
6
7
1
1
Aux Sends (aux channels) 597
PRO Series Live Audio Systems
Owner’s Manual
Gates
Not applicable.
EQs
The following diagram shows the EQ parameters copied through scenes.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5 SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
2
4
1
EQ processing
area in GUI
channel strip
1
3
2
5/6/7
4
3
2
4
3
2
6
3
2
3
4
4
5
aux send
overview in GUI
channel strip
4
8
8
Insert and configuration
processing area in GUI
channel strip
598 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
* Not shown in diagram.
Note: Although band 6 is not shown above, the items in the table also apply. The band
has items 2, 3 and 4, and also includes item 7.
Aux Sends (1 to 16)
Not applicable.
Matrix Sends (1 to 16)
The following diagram shows the parameters of the mix processing area copied through
scenes.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
pairs of matrix sends.
7* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
8 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
Item Control Parameter
1
3
1
3
2
1
3
1
3
4
4
4
2
Matrix buses
processing
area in GUI
channel strip
Aux Sends (aux channels) 599
PRO Series Live Audio Systems
Owner’s Manual
Fader Sections
The following diagram shows the parameters of the master routing processing area
copied through scenes.
Item Control Parameter
1 ST switch Stereo on/off
2 MON switch Mono on/off
3 SIS switch Spatial imaging system on/off
4 Panning control knobs Surround panning (includes all surround sound
parameters)
5 mono level/SIS
image control knob
Mono level (SIS off) or SIS image (SIS on)
6 Fader Level
7 MUTE switch Mute on/off
8 B switch Solo B in/out
9 Field Channel name
10 bus trim control knob Bus trim level
11 delay control knob Delay time
12 Field Channel colour
13 MODE button Bus mode
input channel
overview in GUI
channel strip
4
6
Masters processing
area in GUI
channel strip
3
4
2
1
425
1
GUI input
fast strip
7
8
4
1
2
5
3
9/12
7
3
Insert and
configuration
processing area in
GUI channel strip
13
10
11
13
10
600 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Recall Scope
For details, see “Auxes (Aux Sends)” on page 439.
Store Scope
For details, see “Auxes (Aux Sends)” on page 439.
Routing
The following diagram shows the aux channel routing parameters copied through
scenes.
* Only automated when automate patching is on.
Item Control Parameter
1 INS switch Insert in/out
2 Field Insert return source*
3 Field Direct input source*
Insert and configuration
processing area in GUI
channel strip
1
aux send overview in
GUI channel strip
3
2
Matrix (matrix channels) 601
PRO Series Live Audio Systems
Owner’s Manual
Matrix (matrix channels)
This section shows you which parameters per matrix channel (eight on the PRO3 and 16
on the PRO6 and PRO9) that are affected by copy through scenes.
Config sections
The following diagram shows the parameters of the configuration processing area
copied through scenes.
Item Control Parameter
1
bus trim control
knob
Bus trim level
2 Control knob Direct input level
3 B switch Direct input solo B on/off
4 PRE switch Direct input pre- in/out
5 EQ pushbutton EQ safe on/off
6 DYN pushbutton Dynamic safe on/off
7 FADER/[FDR] switch Fader safe on/off
8 MUTE/[MTE] switch Mute safe on/off
9 AUTO/[AUT] switch Auto safe on/off
10 Delay field Delay in milliseconds (ms) and metres (m)
4
3
Insert and configuration
processing area in GUI
channel strip
1
matrix overview
in GUI channel
strip
2
2
7
8
6
5
9
10
11
12
13
12
7
8
9
5
6
602 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Comp./Output Dyn
The following diagram shows the parameters of the compressor processing area copied
through scenes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
11 delay control knob Delay level
12 C/O switch
Order of processing: Dyn.
JIns.JEQ or
EQ
JIns.JDyn.
13 Graphic Order of processing
14 Field Direct input source
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
Item Control Parameter
Compressor
processing area in
GUI channel strip
3
11
6
7
2
10
9
8
10
9
8
4
3
11
2
5
6
7
1
3
aux send
overview in GUI
channel strip
5
4
1
Matrix (matrix channels) 603
PRO Series Live Audio Systems
Owner’s Manual
Gates
Not applicable.
EQs
The following diagram shows the parameters of the EQ processing area copied through
scenes.
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
Item Control Parameter
2
4
1
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
6
1
aux send
overview in GUI
channel strip
604 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4, and band 1 also has item 5 and band 6 also has
item 7.
Aux Sends
Not applicable.
Matrix Sends
Not applicable.
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
7* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
Item Control Parameter
Matrix (matrix channels) 605
PRO Series Live Audio Systems
Owner’s Manual
Fader Sections
The following diagram shows the parameters of the master routing processing area
copied through scenes.
Item Control Parameter
1 MUTE switch Mute on/off
2 B switch Solo B in/out
3 Fader Level
4 Field Channel name
5 Field Channel colour
6 ST switch Link to stereo master fader
7 MON switch Link to mono master fader
8 bus trim control knob Bus trim level
9 delay control knob Delay time
input channel
overview in GUI
channel strip
3
Masters processing
area in GUI
channel strip
6
7
1
1
Insert and
configuration
processing area in
GUI channel strip
8
8
9
2
3
4
5
606 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Recall Scope
For details, see “Matrices” on page 447.
Store Scope
For details, see “Matrices” on page 447.
Routing
The following diagram shows the matrix channel routing parameters copied through
scenes.
* Only automated when automate patching is on.
Item Control Parameter
1 INS switch Insert in/out
2 Field Insert return source*
3 Field Direct input source*
Insert and configuration
processing area in GUI
channel strip
1
aux send overview in
GUI channel strip
2
3
GEQs 607
PRO Series Live Audio Systems
Owner’s Manual
GEQs
You can copy the assignments (circled
right) of the 16 internal GEQs through
scenes.
Only the Recall Scope and Store
Scope options in the Sections area
are applicable to this option.
Effects
You can copy the assignments of the
internal effects (circled right) through
scenes.
Only the Recall Scope and Store
Scope options in the Sections area
are applicable to this option.
VCA/POP (groups)
You can copy the group membership allocation of the VCA and Groups through scenes.
None of the options in the Sections area are applicable to this option.
608 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Masters (master channels)
This section shows you which parameters for each of the three master channels (mono
and stereo left and stereo right) are affected by copy through scenes.
Config sections
The following diagram shows the parameters of the configuration processing area
copied through scenes.
Item Control Parameter
1 Control knob Direct input level
2 MUTE switch Direct input mute on/off
3 B switch Direct input solo B on/off
4 PRE switch Direct input pre- in/out
4
3
Configuration
processing area in
GUI channel strip
master overview
in GUI channel
strip
2
1
2
Masters (master channels) 609
PRO Series Live Audio Systems
Owner’s Manual
Comp./Output Dyn
The following diagram shows the parameters of the compressor processing area copied
through scenes.
Note: Only the corrective compressor is shown above, but this is typically the same for
the other compressor modes (adaptive, creative, vintage and shimmer).
Item Control Parameter
1 DYN/[CMP] switch Compressor on/off
2 release control knob Compressor release
3 threshold control
knob
Compressor threshold
4 KNEE pushbutton Compressor knee: hard, medium or soft
5 IN switch Compressor sidechain in/out
6 freq control knob Compressor sidechain frequency
7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
0.3 Oct
8 ratio/range/[ratio]
control knob
Compressor ratio
9 attack control knob Compressor attack
10 MODE pushbutton Compressor mode: corrective, adaptive, creative,
vintage or shimmer
11 make up control
knob
Compressor gain
Compressor
processing area in
GUI channel strip
3
11
6
7
2
10
9
8
10
9
8
4
3
11
2
5
6
7
1
3
master overview
in GUI channel
strip
5
4
1
610 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Gates
Not applicable.
EQs
The following diagram shows the parameters of the EQ processing area copied through
scenes.
* Not shown in diagram.
Note: Although bands 1 and 6 are not shown above, the items in the table also apply.
Both bands have items 2, 3 and 4, and band 1 also has item 5 and band 6 also has
item 7.
Item Control Parameter
1 EQ switch EQ on/off
2 gain control knob EQ gain level
3 width control knob EQ width
4 freq control knob EQ frequency
5* SHAPE switch Band 1 shelving mode: bell, warm, high pass 6dB
or high pass 12dB
6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB
7* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or
low pass 12dB
2
4
1
EQ processing
area in GUI
channel strip
3
2
5/6/7
4
3
2
4
3
2
3
2
3
4
4
6
master overview
in GUI channel
strip
1
Masters (master channels) 611
PRO Series Live Audio Systems
Owner’s Manual
Aux Sends
Not applicable.
Matrix Sends
The following diagram shows the parameters per master channel of the matrix sends
(eight on PRO3 and 16 on the PRO6 and PRO9) that are copied through scenes.
Note: Although only matrix sends 1-2 are referenced above, this also applies to all
pairs of matrix sends.
Item Control Parameter
1 ON switch Matrix bus send on/off
2 level/pan control
knob
Bus level, or pan when bus is linked
3 PRE switch Pre-fader on/off
4 level control knob Bus level
1
3
1
3
2
1
3
1
3
4
612 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Fader Sections
The following diagram shows the parameters of the master routing processing area
copied through scenes.
Item Control Parameter
1 SIS switch Spatial imaging system on/off
2 Panning control knobs Surround panning (includes all surround sound
parameters)
3 Fader Level
4 MUTE switch Mute on/off
5 B switch Solo B in/out
6 bus trim control knob Bus trim level
7 delay control knob Delay time
8 Field Channel colour
input channel
overview in GUI
channel strip
3
Masters processing
area in GUI
channel strip
2
1
2
Insert and
configuration
processing area in
GUI channel strip
6
7
6
4
3
4
5
1
8
Masters (master channels) 613
PRO Series Live Audio Systems
Owner’s Manual
Recall Scope
For details, see “Masters” on page 453.
Store Scope
For details, see “Masters” on page 453.
Routing
The following diagram shows the master channel routing parameters copied through
scenes.
* Only automated when automate patching is on.
Item Control Parameter
1 INS switch Insert in/out
2 Field Insert return source*
3 Field Direct input source*
Insert and configuration
processing area in GUI
channel strip
aux send overview in
GUI channel strip
1
3
2
614 Appendix P: Parameters Copied Through Scenes
PRO Series Live Audio Systems
Owner’s Manual
Misc (miscellaneous)
The Misc section has an Assignables option, which lets you copy the current control
assignments of the Assignable Controls window through scenes. (The levels are not
copied.)
None of the options in the Sections area are applicable to this option.
Typical Assignable Controls window on the GUI
For more information on assignable controls, see Chapter 19 "Assignable Controls
(I Zone)" on page 187.
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Appendix Q: Service Information
This appendix contains routine service information for the PRO Series Control Centre.
Routine maintenance
To help keep your PRO Series Control Centre unit in good working order and to make
sure it gives you optimum performance, we recommend that you carry out the following
about once every month.
• Clean the control centre, as detailed in “Cleaning the control centre” (below).
• Check controls for freedom of operation. As the controls are ‘self-cleaning’, this
operation will help to prevent them from sticking.
• Check the functionality of all controls, that is, control knobs, faders, pushbuttons,
LEDs etc.
• Check the functionality of equipment.
Cleaning the control centre
Switch off the control centre and electrically isolate it from the mains before cleaning.
Clean the control centre using a dry, lint-free cloth. Do not use harsh abrasives or
solvents. When cleaning the equipment, take great care not to damage faders,
pushbuttons etc.
Cleaning a GUI screen
Switch off the control centre and electrically isolate it from the mains before cleaning.
Carefully wipe the surface of the GUI screen with a soft, lint-free cloth or screen wipe
specially designed for the purpose. When cleaning the GUI screen, observe the
following precautions:
• Avoid putting pressure on the screen.
• Don’t use harsh abrasives, for example, paper towels.
• Don’t apply liquids directly to the screen.
• Don’t use ammonia-based cleaners and solvents, such as acetone.
If you are in doubt or have any queries about cleaning the GUI screens, contact Midas
Technical Support.
Equipment disposal
When this equipment has come to the end of it useful life, its disposal may come under
the DIRECTIVE 2002/96/EC OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL of
27 January 2003 on waste electrical and electronic equipment (WEEE).
Hazardous substances in WEEE contaminate water, soil and air and ultimately put at
risk our environment and health. The directive aims to minimize the impacts of WEEE
on the environment during their lifetimes and when they become waste.
616 Appendix Q: Service Information
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Owner’s Manual
The WEEE directive addresses the disposal of products when they have reached the end
of their life and contributes to the reduction of wasteful consumption of natural
resources. This will help to reduce pollution, and protect the environment and
ourselves.
If this equipment carries a ‘crossed-out wheelie bin’ (shown left), please
do not dispose of WEEE as unsorted municipal waste but collect and
dispose of in accordance with local WEEE legislation. The horizontal bar
underneath indicates that the product was placed on the EU market after
13th August 2005.
For WEEE disposal; see our website at www.midasconsoles.com for
information.
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Glossary
This glossary provides an explanation of the symbols, terms and abbreviations used in this manual.
5.1 surround: A surround sound system
created from six channels that form a discrete
signal, which is played back over a speaker
system comprising five speakers (three front
and two rear) and a subwoofer (which is the “.1”
or LFE channel). See LFE.
µ: Micro- prefix symbol that represents 10
-6
or
one millionth.
A
A/D: Abbreviation for “analogue to digital”. The
conversion of a continuous signal into a numeric
discrete sample sequence.
AC: Abbreviation for “alternating current”.
AES/EBU: Abbreviation for “Audio Engineering
Society/European Broadcasting Union”. See
AES3.
Acoustic feedback: A sound loop existing
between an audio input and audio output that is
amplified on each cycle. For example, a mic
input signal is amplified and passed to a
loudspeaker. The output from the loudspeaker
is picked up the mic, which amplifies it again
and passes it back to the loudspeaker, and so
on.
AES3: Also known as “AES/EBU”, this is a serial
interface for transferring digital audio between
devices.
AES50: AES digital audio engineering standard.
AES50 is a high resolution, multi-channel audio
interconnection (HRMAI). Rather than a
network, it is a high-performance, point-to-point
audio interconnection, although the auxiliary
data may operate as a true network,
independently of the audio. HRMAI provides a
professional multi-channel audio interconnection
that uses Cat 5e data cable and is compatible
with Ethernet networks.
AFL: Abbreviation for “after fader listen”. A
function that allows the signal to be monitored
post-fader, that is, after it has been acted upon
by the fader.
Algorithm: In computing, a set of instructions
for accomplishing a specific task.
amp (A): Abbreviation for “ampere”. A unit of
current.
Anti-aliasing: When referring to digital images,
a technique that avoids poor pixelation.
Area A: Primary input control area.
Area B: A secondary input control area.
Assignable controls: User-assignable controls
that can be set up to operate other functions.
Auto safe: Prevents channel from accepting
scene recall.
Auto-mute: A function that automatically
mutes the channel’s signal under certain
conditions.
Auto-mute group: A function that
automatically mutes a number of selected
channels under certain conditions.
Automation: 1. Memorization and playback of
changes made to mixer settings. 2. An area on
the master bay that controls these.
Aux: Abbreviation for “auxiliary send” or “aux
send”. A designation for extra buses, typically
used for sending signal to effects, headphone
amps and other destinations. See Bus.
Aux send: See Aux.
B
Balanced audio: A type of audio connection
that uses the three leads in a cable, connector
and jack as part of a phase-cancelling
arrangement to boost the signal and reduce
noise.
Band: In EQ, a range of frequencies.
Bandwidth: In EQ, the width of a band, that is,
the number of frequencies that will be
boosted/cut above and below a centre
frequency.
Bank: A fixed number of channels displayed on
a GUI screen.
Bass: Lower frequencies in a signal.
Bay: One of the main control surface sections.
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Bus: A pathway down which one or more signals
can travel.
C
Cat 5e: A specification for a type of cable used
typically for Ethernet computer networks.
Channel: Single path taken by an audio signal
(input or output) through the control centre.
Channel strip: Row of controls in traditional
analogue layout used for the shaping of a signal.
Checkpoint: A patching data store point,
created by clicking CHECKPOINT. See
Patching.
Click: A method of GUI operation, mainly for
button operation and selection purposes.
CMR: Abbreviation for “common mode
rejection”. A measure of how well a differential
amplifier rejects a signal that appears
simultaneously and in-phase at both input
terminals. CMR is usually stated as a dB ratio at
a given frequency.
Comb filtering: Removal of signal components
at a number of regularly spaced frequencies.
Compressor: A dynamics processor that
reduces the level of any signal exceeding a
specified threshold volume.
Condenser microphone: A high quality mic
that uses a capacitor to detect changes in the
ambient air pressure, which it then converts into
an electrical signal. This type of mic requires
power from a battery or external source.
Control centre: The PRO Series’ console,
comprising control surface and GUI.
Control surface: Area on the control centre
that houses all of the user’s hardware controls,
such as pushbuttons, control knobs, switches
etc.
Crossfade: To combine signals such that one
channel or source fades out while another fades
in, but maintaining an essentially constant
programme volume.
Cursor: Generally, used to describe the
“I”-shaped pointer on the GUI that indicates a
text insertion point. See Pointer.
D
D zone: Section in the input channel strip for
controlling dynamic parameters.
D/A: Abbreviation for “digital to analogue”. The
conversion of digital data to analogue audio.
DARS: Abbreviation for “digital audio reference
signal”.
Dashboard: A standard GUI screen display -
usually on the master bay - that shows all
channel meters (inputs, auxes, returns, masters
etc.) all of the time.
dB: Symbol for “decibel”. A unit of
measurement of the loudness of sound. See
dBu.
dBu: A unit of measurement of sound used in
professional audio. Derived from the decibel,
where the “u” stands for unloaded, this unit is
an RMS measurement of voltage based on
0.775V
RMS
, which is the voltage at which you
get 1mV of power in a 600 ohm resistor. This
used to be the standard impedance in most
professional audio circuits.
DC: Abbreviation for “direct current”.
Delay: An effect by which a reproduction of a
signal is played back later then its original.
Destination: The patch connector to which a
signal is routed. See Patching.
Device: A diagram(s) in the I/O tabs
representing a physical rack unit, such as a line
I/O, mic splitter, DN9696, AES50 etc. See
Patching.
DI: Abbreviation for “direct inject” or “direct
injection”. Signal is plugged directly into the
audio chain without using a microphone.
DI box: Device for matching signal level
impedance of a source to mixer input.
Drag: A method of GUI operation, mainly for
control adjustment. Also used for selecting
blocks of patch connectors during patching.
DSP: Abbreviation for “digital signal processing”
or “digital signal processor”. Any signal
processing done after an analogue audio signal
has been converted into digital audio. Can be
used to create, for example, compression,
equalization etc., of a digital signal. A digital
signal processor is a piece of equipment
specifically designed for carrying out signal
processing.
E
E zone: Section in the input channel strip for
controlling EQ parameters.
Effect: One of a number of audio processes that
can be applied to a signal to modify it, such as
reverb, flanging, phasing, delay etc.
Effects rack: A virtual rack of internal
processors. See Virtual rack.
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Envelope: 1. How a sound or audio signal
varies in intensity over time. 2. The visual
representation of such, usually shown on a
graph in a GUI channel strip.
EQ: Abbreviation for “equaliser” or
“equalisation”.
Equalisation: Adjusting the frequency response
so that the levels of all frequencies are equal or
the same. Bass and treble controls are
equalization controls.
EtherCon®: A cable connector for data transfer
interconnections, which is more robust than the
basic RJ45.
F
Fader: Slider-type device for precise
adjustment of signal level or volume of a
channel.
Fast strip: One of the strips in the input, mix
and output fast zones. See Input fast strip, Mix
fast strip, Output fast strip and Fast zone.
Fast zone: An area on a bay that contains quick
controls. See Input fast zone, Mix fast zone,
Output fast zone and Fast strip.
FB: Abbreviation for “front-back”. A term used
in surround panning.
Feedback: See Acoustic feedback.
Filter: A device for removing frequencies above
or below certain levels.
FOH: Abbreviation for “front of house”. The
area in a theatre used by the public. Used to
describe a control centre being used to control
the sound that the audience will hear (and not
the performers’ monitor system).
Frequency: The number of times that a sound
wave’s cycle repeats within one second.
Fricative: A consonant, such as “f” or “s”,
produced by the forcing of breath through a
constricted passage.
From section: The leftmost area of the
patching screen that contains the source patch
connectors. See Patching.
G
Gain: Another term for signal level.
Gain reduction (compressor): Decrease in
gain when input signal is above threshold. See
Gain.
GEQ: Abbreviation for “graphic equaliser”. See
Graphic EQ.
GEQ rack: A virtual rack of GEQs. See Virtual
rack.
Granularity: A measure of the size of
components or a description of the components
comprising a system.
Graphic EQ: A form of EQ that has a number of
faders for controlling the gain of the audio
signal. The faders are set at frequency bands
that are evenly-spaced according to octaves.
GUI: Abbreviation for “graphical user interface”.
GUI channel strip: Right section of a GUI
screen that represents the processing area of
the input or output channel strip selected to the
control surface.
GUI menu: A menu selectable at either GUI
screen by clicking the home button (upper-left
corner).
GUI screen: One of the two PRO Series’
screens, which comprise the GUI.
H
HPF: Abbreviation for “high pass filter”. A filter
that removes lower frequencies from a signal,
leaving the higher frequencies unaffected.
Hum: Undesirable low frequency tone present in
a signal due to grounding problems or proximity
to a power source.
Hz: Symbol for “Hertz”. A unit of frequency
equal to one cycle of a sound wave per second.
I
I zone: Area on the master bay that contains
the operator-assignable effects controls.
I/O: Abbreviation for “input/output”.
ID: Abbreviation for “identification”.
Ident: Scale marking, or gradation, around a
control knob to help indicate the current setting
and to assist in accurate adjustment.
Impedance (Z): Opposition to the flow of
alternating current in a circuit, measured in
ohms.
K
Kernel: For computers, the kernel is the central
component of most operating systems.
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L
LCD select button: LCD button in the input fast
strips and VCA groups, used for channel/group
navigation and selection, and operator
feedback.
LFE: Abbreviation for “low frequency effects”.
Typically, the “.1” in “5.1 surround” is an LFE
channel.
Linux: Also known as “Linux kernel”. Operating
system kernel used by a family of Unix-like
operating systems. See kernel.
LS: Abbreviation for “left surround”. The left
rear speaker in a 5.1 surround system.
M
MADI: Abbreviation for “multi-channel audio
digital interface”.
Master bay: Control area for masters,
automation, comms, monitoring etc. Also
contains the primary navigation zone.
Masters: The three master channels (mono and
stereo left and right) in the master bay.
MB: Abbreviation for “megabyte”.
MC: Abbreviation for “master controller”.
Meter: Visual device to indicate the level of a
signal.
Meters screen: One of the GUI screens. This is
the default screen of the master bay.
Mic: Abbreviation for “microphone”.
Microphone: Device for converting sound
waves into audio signals.
MIDI: Acronym for “musical instrument digital
interface”. A digital signal system standard that
facilitates integration of musical instruments,
such as synthesizers and guitars, with
computers.
Mix: 1. A signal that contains a combination of
signals, such as a pair of stereo signals with
numerous effects. 2. The act of creating such a
combination. 3. A type of bus. See Bus.
Mix bay: Control area for outputs and groups.
Mixer: 1. A console or other device that blends
input signals into composite signals for output.
2. An engineer/technician who carries this out,
especially during a live performance.
mm: Symbol for “millimetre” (one thousandth
of a metre).
MON: Abbreviation for “monitor”, used to
describe a control centre being used to mix the
signals sent to the stage monitor speakers.
Monitor: 1. Speaker(s) used for listening to a
mix or live audio. 2. The act of listening to a
mix or live audio.
Monitor A: Primary monitor bus system.
Monitor B: Secondary monitor bus system.
Monitors: Control area on the master bay for
monitoring the A and B signal paths.
Mono: A single signal.
Mute: Function that allows a channel’s signal to
be silenced.
Mute safe: Function that means a mute cannot
be controlled by scene recall or auto-mutes.
N
N/A: Abbreviation for “not applicable”.
nm: Symbol for nanometre (one billionth of a
metre).
Normalise: To boost the amplitude of a digital
sound so that it is as high as it can be without
clipping (0dB).
Normalisation: An automatic process whereby
the gain of all program material is adjusted so
that the peak level will just arrive at 0dB.
Normalised connection: Also known as
“normalled connection”. A connection that
allows a signal to pass through it when no plug
is inserted in it, but breaks the connection when
a plug is inserted.
Normalising: The process of making audio files
the same volume.
NVRAM: Abbreviation for “Non-volatile random
access memory”. this is the general name used
to describe any type of RAM that retains its
information when power is switched off. For
example, flash memory.
O
O/B: Abbreviation for “outside broadcast”.
Oct: Abbreviation for “octave”.
Octave: A difference in pitch where one tone
has a frequency that is double or half of the
frequency of another tone.
ohm (Ω): Unit of electrical resistance.
OpticalCon®: A cable connector for fibre optic
cables.
OS: Abbreviation for “operating system”.
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OSC: Abbreviation for “oscillator” or
“oscillation”.
Out of phase: 1. A signal, being similar to
another in amplitude, frequency and wave
shape, but offset in time by part of a cycle.
2. 180° out of phase or having opposite polarity.
See Phase.
Outboard: External, as in an “external device”.
Outboard equipment: External equipment
used with the PRO Series Control Centre, but
that is not part of it.
Output: 1. The signal put out by a device.
2. The physical location of where a device sends
out a signal.
Output fast strip: One of 16 channel strips in
the output fast zone. Provides detailed control
of the currently selected outputs. See Output
fast zone.
Output fast zone: Control area for fast access
to primary main output functions.
Overload: A condition where the signal level is
too high.
Overview: The main view in the GUI channel
strip, which contains the control sections of the
selected channel. This represents the
associated channel strip on the control surface.
Overview screen: One of the GUI screens.
This is the default screen of the mix bay.
P
PAN: Abbreviation for “panoramic”.
Panning: The left/right positioning of a signal
across a stereo image.
Parameter: A setting whose value can be
altered by the user.
Parametric EQ: A type of EQ that allows all of
the parameters of equalisation to be changed,
including centre frequency, boost/cut in gain
and bandwidth.
Patch: A temporary connection (physical or
virtual) made between two audio devices or
inside one.
Patch connector: Any tab patching point, for
example, an XLR connector, bus, sidechain
compressor etc. See Patching.
Patching: Also known as “soft patching”. The
process of routing a channel/signal from a
source to a destination(s).
PCB: Abbreviation for “printed circuit board”.
PEQ: Abbreviation for “parametric equaliser”.
See Parametric EQ.
PFL: Abbreviation for “pre-fade listen”. A
function that allows the signal to be monitored
pre-fader, that is, before it reaches the fader.
Phantom power: The power required for the
operation of a condenser microphone when it is
not supplied by internal batteries or a separate
power supply. This is supplied by the PRO
Series Control Centre itself.
Phase: A measurement (in degrees) of the time
difference between two waveforms.
Pitch: A continuous frequency over time.
Musical interpretation of an audio frequency.
Pitch shift: Alteration of pitch or frequency, but
without adjusting tempo.
Point scene: Subdivision of a scene. See
Scene.
Pointer: 1. On the GUI, the pointer is the
arrow-shaped object on the screen that moves
when the user moves the trackball or external
mouse. 2. On a control knob, it is the marking
that, when used in conjunction with the ident
around edge of control knob, helps to indicate
the setting.
POP: Abbreviation for “population”.
POP group: A number of channels assigned to
a group that has unfold and area B controls.
Provides an easy and quick method of
manipulating and controlling the numerous
channels available on the PRO Series Control
Centre.
Post-: The point for accessing audio just after it
leaves a specific channel component, for
example, “post-fader”, where the audio is
tapped from just after it leaves the channel’s
main level control.
Pre-: The point for accessing audio just before it
reaches a specific module, for example,
“pre-EQ”, where the audio is tapped from just
before it gets to a channel strip’s EQ.
Primary navigation zone: Area in the master
bay for mix and master bay GUI screen
navigation and control. Also has a screen
access section for fast access to GUI menu
options.
Processing area: A display in a GUI channel
strip showing a specific control section.
Accessed from the channel’s overview display.
See Overview.
PSU: Abbreviation for “power supply unit”.
Psychoacoustics: The study of the perception
of sound, that is, how we listen, our
psychological responses and the physiological
effects on the human nervous system.
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Pschycoacoustic noise: Noise that affects the
physiology of the listener.
Q
Quick access button: Button for navigation/
selection of a channel/bus/processing area.
R
RAM: Abbreviation for “Random access
memory”.
Return: Auxiliary return or aux return. An
extra input used for receiving a signal from the
output of an internal or external effect
processor. See Bus.
Reverb: An effect where the ambience of a
physical space is simulated. This is done by
copying a signal and replaying at regular
intervals at ever decreasing levels. The
intervals are so close that each copy is not
heard individually.
RMS: Abbreviation for “root-mean-square”. The
square root of the mean of the sum of the
squares. Commonly used as the effective value
of measuring a sine wave's electrical power. A
standard in amplifier measurements. The
effective average value of an AC waveform.
RS: Abbreviation for “right surround”. The
right-hand rear speaker in a 5.1 surround
system.
S
s: Symbol for “second”. A unit of time.
Scene: In automation, a set of mix settings for
a particular part of a performance, for example,
a play or song.
Sibilance: Energy from a voice, centred around
7kHz, and caused by pronouncing "s", "sh" or
"ch" sounds.
Side chain: A special circuit that diverts a
proportion of the main signal so that it can be
processed, as required. Compressors use the
side chain to derive their control signals.
Signal flow: The path of a signal from one
place to another.
SIP™: Abbreviation for “solo in place”.
SIS: Abbreviation for “spatial imaging system”.
Combines a central loudspeaker cluster with a
left-right system to form three discrete sound
channels.
Snapshot: A captured group of mixer settings
that reflect the state of the mixer at a particular
moment within a performance. This snapshot
can then be recalled at the required moment in
the performance/playback.
Solo: During monitoring, the isolation of one
signal by silencing all other signals.
Source: The patch connector from which a
signal is patched. See Patching.
SPL: Abbreviation for “sound pressure level”.
Given in decibels (dB), SPL is an expression of
loudness or volume.
Splash screens: The GUI display during power
up.
SRC: Abbreviation for “sample rate converter”.
SSD: Abbreviation for “solid-state disk”. Data
storage device that uses non-volatile memory to
store data. Quicker than the conventional hard
disk and less susceptible to the failures
associated with hard disk drives.
Status indicator: A device specifically designed
to show the condition of something. For
example, an LED that shows whether a
pushbutton is on or off, or a meter showing the
level of a signal.
Stereo: Two separate channels, left and right,
used to give the listener the perception of where
the noise is coming from. Usually used with
music to give a fuller, more natural sound.
Stereo image: The perception of the different
sound sources coming from far left, far right or
anywhere in between.
Surround: Audio that has more that two
speaker locations and, therefore, more than two
channels. Also commonly termed “surround
sound”.
Synchronisation (sync): Coordination of
timing between devices.
T
Tab: A ‘sheet’ in the From and To sections that
contains a specific group of patch connectors.
See Patching.
TFT: Abbreviation for “thin film transistor”.
Threshold: Level at which dynamics processing
will begin to operate.
Tie line: A dedicated connection between two
systems, typically between FOH and MON
positions.
To section: The rightmost area of the Patching
screen that contains the destination patch
connectors. See Patching.
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Tooltip: The information box that appears next
to the pointer when it passes over or pauses on
items on certain GUI screens, such as the
channels on the Overview and Patching
screens.
Touchpad: Also known as “trackpad”. An input
device on a laptop PC for controlling the
on-screen pointer.
Track: Single stream of recorded audio data.
Trackball: Device, located in the primary
navigation zone, for GUI screen navigation and
control of the mix and master bays.
Treble: Higher frequencies in a signal.
TW: Abbreviation for “twin-wire”.
U
Unbalanced audio: A type of audio connection
that utilises only two of the leads of a cable,
connector and jack.
Unfold: Navigates the input channels of a group
to the input bays.
USB: Abbreviation for “universal serial bus”. A
‘plug and play’ interface that provides a fast
connection between a computer and
peripherals, such as keyboards, printers,
scanners, digital cameras etc.
V
VCA: Abbreviation for “variable control
association” (also “voltage controlled
amplifier”).
VCA fader: The fader control of a VCA group.
VCA group: A group of channels that are
controlled globally, such as via their group’s
fader and other controls. Provides an easy and
quick method of manipulating and controlling
the numerous channels available on the PRO
Series Control Centre.
VGA: Abbreviation for “video graphics array”. A
graphics display system for PCs developed by
IBM.
Virtual rack: A traditional 19” rack,
represented on the GUI. A virtual rack will,
typically, contain internal devices, such as
effects and GEQs.
Volt (V): A unit of electrical potential
differential or electromotive force.
Volume: General term for a signal’s loudness.
W
Window: A small self-contained panel that
appears on the GUI, usually after selection of a
specific control. Typically, contains a number of
user-selectable options or information in the
form of a message or prompt.
X
X-over: Abbreviation for “crossover”.
XLR connector: High-quality three-pin audio
connector, which is also used for AES/EBU
digital audio connections.
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Thank you for reading through this Owner’s Manual.
We hope you found it useful.
Please feel free to send us your comments.
Our contact details and website address can be found
at the front of this manual.
Midas Klark Teknik Limited
Klark Industrial Park, Walter Nash Road,
Kidderminster. Worcestershire. DY11 7HJ. England.
Tel: +44 1562 741515, Fax: +44 1562 745371
Email: info@midasklarkteknik.com
Website: www.midasconsoles.com
© 2010 Red Chip Company Ltd.
3 …

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