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
83 PRO X User Manual
Solo hierarchy
The solo system add-mode hierarchy works as follows:
• The highest level of solos will be the inputs and returns. When active, these will
override and inhibit the remaining solo sources (auxes, matrices and masters).
• Within the constraints of the two-level solo hierarchy, only one source can be
active on any channel at any instant:
• Input channels: Input channel <--> Aux AFL <--> Direct out <--> Side
chain listen
• Return channels: Return channel <--> Direct in
• Aux buses: Aux bus <--> Direct in <--> Side chain listen
• Matrix outputs: Matrix bus <--> Direct in <--> Side chain listen
• Master outputs: Master bus <--> Direct in <--> Side chain listen
An additional constraint is placed on the side chain listen. This is due to
the nature of the DSP, where only one side chain listen can be active on the
control centre at any time, regardless of whatever else is active in the same
solo hierarchy level.
• If an input channel solo is active via a VCA master solo, soloing the input
temporarily overrides the VCA master solo. However, soloing a direct input or
AFL solo on the same channel or a side chain solo on any channel, cancels both
the input solo on that channel and any VCA master solos to which the input
channel is assigned.
Solo in place (SIP)
By using solo in place (SIP), you can cut all channels from the main mix (except
soloed ones) by pressing a solo button. SIP lets you check the contribution
from soloed channels at the actual levels they occur in the mix, that is, taking
into account the main fader setting. If solo buttons cut the main output (main
mix) they must only be used in rehearsals. Sometimes, SIP selection buttons
are disabled during recording (solo safe) or revert to AFL (only aects monitor
outputs). See “solo system section” in chapter 14.
To prevent accidental SIP activation, the SIP button has a hinged clear plastic cover
that has to lifted up before you can operate it.
For SIP purposes, master outputs can be the main master bus or, if congured,
a multi-channel output mix.
To be eligible for SIP muting, channels must be input channels and set up to solo
to the solo A bus; channels with any other combination cannot be subjected to SIP
muting. Channels eligible for SIP muting that are currently or subsequently muted
by a means other than SIP (that is, local button press, auto-mute or scene recall)
remain muted, regardless of the SIP status. On removal of the overriding mute,
the mute is restored according to the current SIP status, see Chapter 13 “Muting”.