Manual

28 PRO X User Manual
• Network inter-operability A port on the router is for general ‘rest of the
world’ Ethernet trac. This port is isolated from the PRO X Control Centre’s
Ethernet trac by a routing table gateway mechanism within the
router itself.
Mix buses
To help reduce latency the PRO X 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.
• Second time zone Aux Channels, including aux inputs that are set to
eects return mode.
• Third time zone Master outputs.
• Fourth time zone Matrix outputs.
This diers from traditional analogue consoles, where it is often possible to mix
four or ve 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 oering more exible bus types (stereo,
mono, aux, sub, mix minus etc.).
In this system, all inputs are automatically time aligned, so there is no comb
ltering, which is often a problem with other digital consoles.
For details of the bus types and their options, see Table 24 “Denition of primary
buses” in Appendix J.
Automation
The automation system can store and recall up to 9900 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 aected, while all
other controls remain in their current state.
The PRO X can also recall/store operational preferences, so that its operation
can be congured 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 diering
performers on a night-by-night basis, which is common in theatres.
MIDI and GPIO input/output are provided, as well as the ability to re 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.