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
29 PRO X User Manual
Getting Started
Chapter 4: Setting Up The System
This chapter shows you how to set up a live audio system to its
default conguration.
Note: If you want to set up the system using a conguration 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
• Making up a rack
• Connecting up the equipment
• Powering the equipment
• Initial patching
It is important to set up the type of snakes connected in the system.
• Conguring the rack unit(s)
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 tted with
the Audio System Engine unit and the I/O unit(s) appropriate for your system.
However, should you wish to re-congure 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 X rack units have been designed such that their internal
ventilation airow 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
ow freely through the rack in the same direction, that is, in through the
front of the rack and out through the rear. Situations where the air ows in a
circular direction around and through a PRO X 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 ow
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 X units to the rack
via their rear rack mount support brackets. These brackets are tted to every
PRO X unit and are recommended for use in touring applications. The rack
mount support xing hole centres are at a depth of approximately 395 mm
from the front panel.
• Handles on rack case You must ensure that there are sucient external
handles tted 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 t for purpose.
• Clearance at rear of units Ensure an adequate clearance at the rear of the
units to provide sucient 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/o 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
Basically, to connect the system equipment together all you have to do is to
connect the control centre to the Neutron using the Cat 5e or bre optic snake.
>> To connect the PRO X Control Centre to the Neutron
1. At the rear of the PRO X Control Centre, connect the bre-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 Neutron, connect the two snakes to the appropriate
connectors (optical or copper) in the snake X and snake Y sections.