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
82 PRO X User Manual
Chapter 12: Soloing
With solo you can isolate the sound from a single channel, which is helpful in
fault nding and when equalising a signal. Pressing a solo button cuts all signals
routed to the monitor output, except the one local to the solo button (mix minus
is bus mode of the aux outputs, and does not aect the solo buses — if you solo
an aux in mix minus mode, you still only solo that channel). So, you can monitor a
signal at a level proportional to its level in the mix, in the same stereo position in
the mix and with the same reverberation as in the mix.
The PRO X Control Centre has two independent solo systems, solo A and solo
B. Both have monitor and headphone outputs, and both can be used to PFL or
AFL signals from the same sources throughout the control centre. This exible
solo bus conguration makes soloing of three-way monitor mixes — in-ears
going to solo A and wedge going to solo B — possible and also greatly
enhances the usefulness of the control centre for dual (two-person) operation
(independent soloing).
Note: Solo A and B are not to be confused with area A and B (as in dual operation)
and monitor A and B.
Using solo A/B
With solo A/B on, solo goes to the selected solo bus with the
following conditions:
• If the solo button is pressed only for a short time, the soloing to the selected
solo bus remains active when the button is released. If the solo button is held
down, the soloing to the selected solo bus is cancelled when the button is
released.
• Pre-fader audio is sent to the selected solo bus if the associated PFL control
for that bus is active. Post-fader audio is sent to the selected solo bus if the
associated PFL control is inactive.
• Unless multiple solo activations to the same solo bus are concurrent, the solo
activation that occurred last — while the respective solo add mode (A or B) is
inactive — cancels all earlier solos to the same bus before it activates.
• Solos can also be operated from a VCA master when the channel to which they
belong is a member of that VCA. This is in addition to the local operation.
• Pressing the solo clear button associated with the solo bus (A or B) they are
sending to will clear active solos.
• A solo hierarchy exists for each of the solo buses in the control centre (see
“Solo hierarchy”). Activating a solo with a higher precedence in the hierarchy
deactivates all solos with less precedence and inhibits them from being
operated. As soon as the higher precedence solos are cleared, the stages of the
inhibited solos are restored and they resume normal operation.
Some modications to this hierarchy are possible. For example, mix buses
can be used as sub-mixes (hierarchy is as described) or outputs (having same
precedence as master outputs).
• Pressing ADD (solo A/B) o cancels all solos.
• Soloing inputs and outputs (with solo add switched on):
• With any inputs active, you can’t solo outputs.
• With any outputs active, pressing an input solo overrides (cancels) the
output solo. Then, if you cancel the input solo(s), the output solo(s) returns.
The eects of using the solo A and B buttons in combination are shown in the
following table.
Solo A Solo B Eect
O O
Solo goes to the A bus, but there is no solo
in operation.
On O Solo goes to the solo A bus.
O On Solo goes to the solo B bus.
On On Solo goes to the solo A bus.
The eects of using the solo destination controls are shown in the
following table.
Table 10: Solo A/B destination controls
Control Description
PFL direct input
Direct inject to solo A from linked control
centre, active only while solo A is PFL.
AFL direct input
Direct inject to solo A from linked control
centre, active only while solo A is AFL.
PFL direct output
Mono summed direct output from solo A for
linking to another console.
AFL direct output
Stereo direct output from solo A for linking to
another console.
Solo add:
•On (additive solos)
•O (self-cancelling solos)
Disables self-cancelling solo A/B solos.
(When self-cancelling solos are selected,
that is, with solo add mode o, the solo
being cancelled should be deactivated before
activating a new solo.)
Solo clear:
•On (some solo A solos)
•O (no solo A solos)
Single button clearing of currently active solo
A/B solos.
Solo PFL:
•PFL (solo pre-fader)
•AFL (solo after-fader)
Switch all current and future solo A/B
activations to send the solo A/B bus pre-fader.
Solo in place (SIP):
•On (SIP active)
•O (SIP inactive)
When active, SIP mutes all channels except
the one being soloed. However, the audio
of the soloed channels is still placed on the
monitor outputs. For more information on SIP,
see “Solo in place (SIP)”.