Operator Manual
Table Of Contents
- Contents
- Overview
- Chapter 1: Introduction
- Chapter 2: PRO2 Live Audio System
- Chapter 3: About The PRO2 Control Centre
- Getting Started
- Basic Operation Of The PRO2
- Chapter 5: Before You Start
- Chapter 6: Working With The PRO2 Control Centre
- Chapter 7: Navigation
- Chapter 8: Patching
- Introduction
- Terms used in PRO2 patching
- About the Patching screen
- Patching tooltips
- About the patching procedure
- Configuring the devices
- Setting up the I/O rack device(s)
- How to patch
- 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/POPulation groups
- Setting up a mix
- Setting up the effects rack
- Simple routing to master stereo outputs
- Automation
- Configuring the inputs and outputs
- Using copy and paste
- User library (presets)
- Surround panning
- Area B operation
- Saving your show files to a USB memory stick
- External AES50 synchronisation
- 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
- Chapter 17: Control Groups
- Chapter 18: Copy And Paste
- Chapter 19: Assignable Controls
- Chapter 20: Scenes And Shows (Automation)
- About automation
- Automation controls
- Automation screen
- Using the right-click menu
- Scenes
- Scene contents
- Point scenes
- Numbering and navigation
- Initial snapshot scene (scene 0)
- 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 PRO2
- Chapter 27: Changing The Preferences
- Setting the meter preferences
- Configuring a virtual soundcheck
- Configuring playback
- Restoring the PRO2 defaults
- Checking the build information
- Using patching in automation
- Selecting the surround mode
- Setting the time and date
- Setting the user interface preferences
- Setting the navigation mode
- VCA unfolding
- Changing the default input/output names
- On-scene store
- Changing the signal processing preferences
- Adjusting PRO2 illumination
- Selecting the function of the foot switch(es)
- Selecting the fan speed
- Remote control server
- Configuring the channels, groups and internal units
- Chapter 28: Delay Compensation (Latency)
- Description
- Chapter 29: Panel Connections
- Chapter 30: Input Channels
- Chapter 31: Output Channels
- Chapter 32: GUI Menu
- Appendices
- Appendix A: Application Notes
- Appendix B: Functional Block Diagrams
- Appendix C: Technical Specification
- PRO2 general statistics
- PRO2 general specifications
- PRO2 audio performance specifications
- PRO2 system inputs and outputs
- DL251 I/O box - analogue inputs
- DL251 I/O box - analogue outputs
- DL251 I/O box - MIDI
- DL251 I/O box - digital system inputs and outputs
- PRO2 control surface - DSP/router system inputs and outputs
- PRO2 control surface - analogue audio system inputs
- PRO2 control surface - analogue audio system outputs
- PRO2 control surface - digital audio system inputs and outputs
- PRO2 control surface - control data system inputs and outputs
- PRO2 control centre - miscellaneous inputs and outputs
- Inputs and output characteristics
- Main processing functions
- Status functions
- Appendix D: Troubleshooting
- Appendix E: Updating The PRO2 Host Software
- Appendix F: Parameters Affected By Scope
- Appendix G: Parameters Affected By Automate Patching
- Appendix H: Parameters Protected By Safes
- Appendix I: Parameters Affected By Copy And Paste
- Appendix J: Parameters Affected By Stereo Linking
- Appendix K: Parameters Copied Through Scenes
- Appendix L: Service Information
- Glossary
- Other important information
- 1 Register online. Please register your new Midas equipment right after you purchase it by visiting www.midasconsoles.com. Registering your purchase using our simple online form helps us to process your repair claims more quickly and efficiently. Als...
- 2 Malfunction. Should your MUSIC Group Authorized Reseller not be located in your vicinity, you may contact the MUSIC Group Authorized Fulfiller for your country at www.midasconsoles.com. If your country is not listed please contact the “United Kin...
- 3 Power Connections. Before plugging the unit into a power socket, please make sure you are using the correct mains voltage for your particular model. Faulty fuses must be replaced with fuses of the same type and rating without exception.
- FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
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PRO2 Live Audio System
Owner’s Manual
Chapter 12: Soloing
Solo enables a signal to be monitored at a level proportional to its level in the mix, in
the same stereo position in the mix and with the same signal processing as in the mix.
When a solo button is pressed, all signals routed to the monitor output — except the
one selected by the solo button — will be cut. Solo allows a sound in one channel to be
isolated, which is helpful in fault finding and when equalising a signal.
There are two independent solo systems in the console, solo A and solo B. Both have
monitor outputs and solo A has a headphone output, and both can be used to PFL or
AFL signals from the same sources throughout the console. This flexible solo bus
configuration makes soloing of three-way monitor mixes (in-ears going to solo A and
wedge going to solo B) possible.
Solo A
With solo A on, solo goes to the selected solo bus with the following conditions:
• If solo button is pressed for a short time, the soloing to the selected solo bus
remains active when the button is released. If press is sustained (solo button 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 they are sending to
(A or B) will clear active solos.
• A two-level solo hierarchy exists for each of the solo buses in the console (see “Solo
hierarchy” on page 105); the levels are inputs and returns, and aux sends and
matrices and masters. 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.
• With any inputs active, outputs can’t be soloed.
• with any outputs active, pressing an input solo overrides (cancels) output. When
the input solo(s) is cancelled, the output solo(s) are returned.
• Pressing ADD (solo a/b) off cancels all solos and then allows you to solo multiple
channels simultaneously.
• Pressing PFL (solo a/b) on changes the point at which the soloed signal is taken
from, that is, from post-fader to pre-fader.
• Soloing inputs and outputs:
With solo A off there is no solo in operation.