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
201 PRO X User Manual
Safes
Each output channel (except return) has six types of output channel safes that
each each protects a specic control/area from the automation system.
The safes on the return channel are input channel types, of which there are only
ve available (there is no dynamics).
You can only operate the safe switches via the channel strips (control surface
and GUI), which also provide on/o 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”.
Insert (GUI only)
You can congure the send and return points of the aux, matrix and master
outputs in the insert section of the conguration processing area. The returns
have a separa te insert processing area, which has the same function.
For routing information, see Table 25 “Navigating to the Patching screen”
in Appendix J.
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)” in chapter 30.
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”
in chapter 30.
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 +6 dB
to o) 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” in chapter 30.
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” in chapter 30). The same also applies to fader (see “Fader”).