Manual
Table Of Contents
- Overview
- Chapter 1: Introduction
- Chapter 2: PRO Series Live Audio Systems
- Chapter 3: About The Control Centre
- Getting Started
- Chapter 4: Setting Up The System
- Basic Operation Of The PRO Series
- Chapter 5: Before You Start
- Chapter 6: Working With The Control Centre
- Chapter 7: Navigation
- Chapter 8: Patching
- Chapter 9: Basic Operation
- Setting a mic amplifier’s input gain
- Setting the high and low pass filters
- Input equalisation (E zone)
- Input dynamics processing (D zone)
- Output processing
- Using VCA/POP groups
- Setting up a mix
- Using fader flip
- Setting up the effects rack
- Simple routing to master stereo outputs
- Scene and show management (automation)
- Configuring the inputs and outputs
- Using copy and paste
- User library (presets)
- Surround panning
- Two-man operation
- Saving your show files to a USB memory stick
- Security (locking mode)
- Security (locking mode)
- Advanced Operation And Features
- Chapter 10: Stereo Linking
- Chapter 11: Panning
- Chapter 12: Soloing
- Chapter 13: Muting
- Chapter 14: Monitors And Communications
- Chapter 15: Graphic Equaliser (GEQ)
- Chapter 16: Internal Effects
- Overview of the internal effects
- About the effect window
- Working with the effects
- Effect configuration
- Effect programs
- Delay effect
- Virtual DN780 Reverb effect
- Flanger effect
- Phaser effect
- Pitch Shifter effect
- SQ1 Dynamics effect
- 3-Band Compressor effect
- Submonster
- DN60 Spectrum Analyser
- Tape Saturation
- Variable Phase
- Dual Stereo Delay
- Ambience Reverb
- Vintage Room Reverb
- Chamber Reverb
- Hall Reverb
- Plate Reverb
- Stereo Graphic EQ
- Dynamic EQ
- Matrix Mixer
- Stereo Chorus
- UNCL.D
- Loudspeaker Processor
- De-esser
- TC M350
- MIDAS Spectrum Analyser
- MIDAS Automixer
- Chapter 17: Control Groups
- Chapter 18: Copy And Paste
- Chapter 19: Assignable Controls (I Zone)
- Chapter 20: Scenes And Shows (Automation)
- About automation
- Automation controls
- Automation screen
- Using the right-click menu
- Scene contents
- Point scenes
- Numbering and navigation
- Global scene
- Initial snapshot scene (safe scene)
- Date and time
- Scene cue list
- Editing scene properties
- Adding a new scene
- Copying and deleting scenes
- Changing the order of the scenes
- Overriding store scope
- Using patching in automation
- Using zoom
- Show files
- Rehearsals
- Safes
- Chapter 21: Scope (Automation)
- Chapter 22: Events (Automation)
- Chapter 23: Crossfades (Automation)
- Chapter 24: User Libraries (Presets)
- Chapter 25: File Management
- Chapter 26: Using Other Devices With The PRO X
- Chapter 27: Changing The User Settings
- Setting the meter preferences
- Configuring a virtual soundcheck
- Restoring the PRO X defaults
- Checking the PRO X build information
- Setting the configuration preferences
- Changing the user interface preferences
- Configuring the channels, groups and internal units
- Changing the default input/output names
- Adjusting PRO X illumination
- Setting the time and date
- Chapter 28: Delay Compensation (Latency)
- Description
- Chapter 29: Panel Connections
- Chapter 30: Inputs
- Mic amp input gain (preliminary input processing)
- Chapter 31: Outputs
- Chapter 32: GUI Menu
- Appendices
- Appendix A: Application Notes
- Appendix B: Technical Specification
- Appendix C: KLARK TEKNIK DN370 GEQ
- Appendix D: KLARK TEKNIK DN780 Reverb
- Technical Specifications
- Appendix E: I/O Modules
- DL443 analogue Jack I/O module
- Appendix F: Replacing A Module
- Appendix G: Troubleshooting
- Appendix H: Updating PRO X Host Software
- Appendix I: Documentation
- Appendix K: Parameters Affected By Scope
- Appendix L: Parameters Affected By Automate Patching
- Appendix M: Parameters Protected By Safes
- Appendix N: Parameters Affected By Copy And Paste
- Appendix O: Parameters Affected By Stereo Linking
- Appendix P: Parameters Copied Through Scenes
- Appendix Q: Service Information
101 PRO X User Manual
3-Band Compressor eect
The 3-band Compressor eect 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.
Front panel of the 3-band compressor eect
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 -50 dB to +25 dB.
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 0 dB to +24 dB.
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
lter. It has an adjacent LED (yellow) for on/o 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/o 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 40 Hz to 1 kHz.
12 Hi Mid Freq control knob Sets the crossover point between the Mid and Hi compressors. Range is from 640 Hz to 16 kHz.
1 2 3 4 11 12
7 6 589
10
Submonster
The Submonster is a sub-harmonic synthesiser eect which boosts the low
frequencies of an audio signal by generating an additional signal an octave
below a given frequency range. The aim of this eect is to add low end to a
signal which may have weaker low frequency content, or to generally increase
the bass frequencies.
The Submonster works particularly well on drum tracks, especially bass drums,
and when applied to an overall mix. When placed on individual instruments
it can create a sub-octave doubling eect, which works well when applied to
monophonic sounds. The eect has ve tunable bands of sub-octave synthesis,
each with its own gain control. The frequencies on which the bands are centred
are controlled using the tune parameter, which controls all ve bands’ centre
frequencies to reduce overlap.
The tune parameter ranges from 10 Hz to 30 Hz which corresponds to the
frequency of the lowest generated sub-harmonic band, with each subsequent
band having a minimum and maximum frequency of 1.5x the previous band’s
minimum and maximum frequency. This gives a total range of sub-harmonic
synthesis between 10 Hz and 150 Hz.
DN60 Spectrum Analyser
The function of an audio spectrum analyser is to separate the components of any
audio signal into dened frequency bands, and to indicate the level of energy
present in each of those bands. The Spectrum Analyser eect provides this
functionality across 31 discreet bands, and can also be used for multichannel
processing by allowing for switchable inputs for complete exibility. The display
has two banks of meter graphs, each with a set of eight input switches, allowing
any of the eight inputs to be routed to either graph in any combination.