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
24 PRO X User Manual
Eects processing and GEQs
The PRO X contains up to 36 mono KLARK TEKNIK (KT) GEQs and 24 eects
processors as standard.
The mono KT GEQs can be patched into any output. There are many patching
options for the eects 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.
Audio physical connections
Over 500 physical analogue XLR connections are possible on a PRO X Live
Audio System depending on card conguration.
The ve available card types are DL441, DL442, DL443, DL444 and DL452
(see Table 2 “Range of PRO Series equipment supply” on page 21 ). Any three of
these cards can be tted directly into the rear of a PRO X Control Centre,
and the remainder are tted in the congurable I/O boxes.
All of the congurable I/O are freely routable on a scene-by-scene basis.
Surround capabilities
Theatres and broadcast have diering requirements for surround and both
are catered for in the PRO X.
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.
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 network of the PRO X 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.
Network connections carry digital audio, control data and standard Ethernet
trac 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 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.
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 simplies servicing. The following lists some examples:
• The Audio System Engine incorporates N+1 redundant power supplies and
3 modules, with a redundant 4th module included. The standard failure
recovery for modules will be redeployment of critical roles typically causing
loss of some less important inputs. The 4th module allows the system to
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.
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 X 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
ecient, 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.
GUI
The PRO X has two, daylight-viewable, LED screens that provide fast zone and
channel strip status indication. Although any screen can display any information,
in the standard conguration, screen information relates to module location.
So, the mix bay screen displays the channel strip and fast zone while the master
bay screen displays the channel strip, input fast zone (four inputs) and all meters.
The screens are controlled from the primary navigation zone at the bottom of the
master bay via two trackballs.