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
79 PRO X User Manual
Surround panning
There are three surround panning modes: quad, LCRS and 5.1. These are assigned
on a channel wide basis, that is, if the control centre is in 5.1 all channels are
in 5.1. This allows control and distribution of the three surround formats without
re-patching. The same applies to monitoring.
For more information on surround panning, see “Surround panning” in chapter 9.
For information on the set-up for each mode, see Figure 31 “Connections
for a quad surround system (with recommended speaker set-up)”, Figure 32
“Connections for an LCRS surround system (with recommended speaker set-up)”
and Figure 33 “Connections for a 5.1 surround system (with recommended
speaker set-up)” in chapter 29.
Table 8: Surround panning bus routing
Buses Matrix 1 Matrix 2 Matrix 3 Matrix 4 Matrix 5 Matrix 6
Quad Left Right None None LS RS
Surround Left Right Centre None S (same as Matrix 6) S (same as Matrix 5)
5.1 surround Left Right Centre Sub LS RS
Monitor A Left A Right Centre Sub B Left B Right
Simultaneous generation of stereo masters, mono masters, stereo auxes, mono
auxes, stereo matrices and mono matrices (excluding buses 1 to 6) is possible in
all surround modes. However, SIS™ panning to masters is not possible.
Operation of the monitor system in surround or stereo is a mode selection that
can be made independently or in conjunction with the surround bussing on the
control centre, that is, you can still monitor and solo in stereo, even if you are
producing a 5.1 mix.
Surround panning connectors on rear panel of PRO Series Control Centre
Left/right panning control utilises the normal stereo pan pots. Front/back
panning is made possible by taking over the mono level/SIS image control knob
on the control surface (masters section of each channel strip).
Trackball panning and external devices that operate the GUI pointer can also
operate the surround panning on a selected channel.
Bus routing to the six surround matrices remains unchanged, that is, it will be
possible to route and place an image anywhere within the surround stem from
inputs, auxes, aux/group buses and master buses.
Input of pre-recorded surround material is possible from the direct inputs to the
six matrix buses (with no panning available).
No fold down facilities are implemented for externally inputted surround
material. However, a stereo mix can be monitored by switching the monitor
section back to operate in stereo mode sourced from the stereo masters rather
than the six surround matrix modules. This requires an identical stereo mix to be
built at the same time the surround mix is generated, which is normal practice.
When monitoring in surround formats the monitor centre and sub speakers are
muted via the assignable stereo output mutes, while the front and surround
speakers are muted via the A and B monitor mutes.
In normal stereo mode, two assignable outputs — typically the main stereo
left and right — can be patched to the centre and sub XLRs to free up eight bay
modules I/O.
>> To select a surround panning mode
1. At the GUI, choose home Preferences General.
2. Click the Show tab.
3. In the Preferences Show screen, in the Surround Mode section, , click your
chosen surround mode. For example, “5.1”. The currently selected mode
contains a red circle.