PRO1 Live Audio System Owner’s Manual MUSIC Group Research UK Limited, Klark Industrial Park, Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England. Tel: +44 1562 741515 Fax: +44 1562 745371 Email: mkt.info@music-group.com Website: www.midasconsoles.com PRO1 Live Audio System — Owner’s Manual DOC02-DL1SERIES Issue B — November 2012 © MUSIC Group IP Limited © 2013 MUSIC Group IP Ltd. Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed.
Owner’s Manual EN Important safety instructions Important safety instructions CAUTION RISK OF ELECTRIC SHOCK! DO NOT OPEN! ATTENTION RISQUE DE CHOC ELECTRIQUE! NE PAS OUVRIR! Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with ¼" TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel.
iv PRO1 Live Audio System § 3 Return materials authorization 1. To obtain warranty service, please contact the retailer from whom the equipment was purchased. Should your MUSIC Group dealer not be located in your vicinity, you may contact the MUSIC Group distributor for your country listed at www.midasconsoles.com. If your country is not listed please contact the “United Kingdom (Midas/ KT main office)” located under “Service Service/Repairs” on the www.midasconsoles.com website.
Licences The following are the license agreements applicable to the Midas Digital Equipment. End-User Licence Agreement for Midas™ and Klark Teknik™ Software IMPORTANT - Please read this document carefully before using this Midas™ or Klark Teknik™ Product. This is an agreement governing your use of software or other machine instructions already installed on this Midas™ or Klark Teknik™ Product, as well as other software that we provide for installation on this Product.
DATE INFORMATION. You understand that the Company may update or revise the Software but in so doing incurs no obligation to furnish such updates to you. However, the Company may in its discretion make updates available from time to time upon such terms and conditions as it shall determine.
and the Courts of England and Wales will have exclusive jurisdiction to hear and decide any dispute concerning it or its formation. No breach by you of any provision of this Licence shall be waived or discharged except with the express written consent of the Company and no failure or delay by the Company to exercise any of its rights under this Licence shall operate as a waiver thereof and no single or partial exercise of any such right shall prevent any other or further exercise of that or any other right.
ix Contents Information page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i Important safety instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii Licences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix Overview Chapter 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
x Making up a rack . . . . . . . . . . . . . . . . . . . . . . . . . . . Connecting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . Powering the PRO1 system . . . . . . . . . . . . . . . . . . . . Switching the PRO1 Control Centre on/off . . . . . . . . . .... .... .... .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 .28 .30 .31 Basic Operation Of The PRO1 Chapter 5 Before You Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Principles of operation . .
xi Saving your show files to a USB memory stick . . . . . . . . . . . . . . . . . . 88 External AES50 synchronisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Security (locking mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Advanced Operation And Features Chapter 10 Stereo Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Changing the linking options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Pan Link options . . . . .
xii 3-Band compressor effect Dynamic EQ . . . . . . . . . Ambience reverb . . . . . . Chamber reverb . . . . . . Hall reverb . . . . . . . . . . Plate reverb . . . . . . . . . Vintage room . . . . . . . . Stereo chorus . . . . . . . . Dual stereo delay . . . . . Matrix mixer . . . . . . . . . Chapter 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xiii Chapter 21 Scope (Automation) . . . . . . . . . . . . . . . . . . . . . . . . . 193 About scope . . . . . . . . . . . . . . . . . . . . . . . . . . About the Recall Scope screen . . . . . . . . . . . . . Selecting scope parameter sections . . . . . . . . . Saving scope parameters in a scene . . . . . . . . . Using store scope . . . . . . . . . . . . . . . . . . . . . . Chapter 22 .... .... .... .... .... .. .. .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xiv Chapter 28 Delay Compensation (Latency) . . . . . . . . . . . . . . . . 229 Insert compensation . . . . . . . . . GEQ compensation . . . . . . . . . . GUI Delay Compensation options Monitor Mode (Align with Masters) Zones . . . . . . . . . . . . . . . . . . . Masters to matrix tap-off-point . . Typical configurations . . . . . . . . .... .... .... ... .... .... .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xv Appendices Appendix A Application Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Spatial imaging system (SIS™) . . . . . . . . PRO1 compressor modes (dynamic) . . . . . PRO1 input channel EQ modes . . . . . . . . . PRO1 output channel EQ modes . . . . . . . . Appendix B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xvi Masters . . . . . Effects . . . . . . System devices Monitors . . . . . Appendix H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overview Volume 1: PRO1 Live Audio System Owner’s Manual
1 Chapter 1: Introduction Welcome to the PRO1 Live Audio System. The PRO1 Live Audio System is a very powerful and flexible audio processing system that provides a complete solution for any audio mixing and signal distribution application in a live sound environment.
2 Chapter 1: Introduction Conventions The following lists some of the main conventions used in this manual. • Hand symbols, such as, (for pushbutton, trackball, glide pad etc.) and (for control knob), are used to show the operation of the physical controls on the control surface. GUI operation is indicated by a pointer, which represents a ‘click’ ‘drag’ or operation. • The graphics shown right are used to differentiate between diagrams of the control surface (left) and GUI (right).
PRO1 host software 3 PRO1 host software This manual is for an PRO1 Control Centre running host software version 2.00 and later. To keep the PRO1 Control Centre up to date so that it gives you optimum performance, we recommend that you check the Midas website regularly to see if there are any available host software updates. Service and support The PRO1 is a very hi-tech piece of equipment. We provide superb levels of support and service to give users confidence in Midas digital products.
4 Chapter 1: Introduction PRO1 Live Audio System Operator Manual
5 Chapter 2: PRO1 Live Audio System The PRO1 is a mid-size mixing console designed to work for long periods, not just indoors but under harsh sunlight or near freezing conditions. Built around a lightweight all-aluminium frame, the PRO1 is a standalone console that is easy to configure and operate.
6 Chapter 2: PRO1 Live Audio System • Removable power supply • Three year factory warranty Additional I/O Box Options • DL251: 48 inputs/16 outputs in a fixed configuration I/O • DL252: 16 inputs/48 outputs in a fixed configuration I/O • DL351: up to 64 inputs/64 outputs in a configurable I/O • DL431: 24 inputs in a five way split in a fixed configuration I/O • DL451: up to 24 inputs/24 outputs in a configurable I/O Accessories • Klark Teknik DN9331 Rapide Graphic Controller • Klark Tekni
System configurations System configurations This section shows the basic interconnectivity of a PRO1 Live Audio System and the possible system configurations. PRO1 with a DL251. This configuration gives 48 mic/line inputs and 16 outputs on stage (DL251) and 24 mic/line inputs and 24 outputs on the console. PRO1 system expanded by adding two DL431s and a DL451.
8 Chapter 2: PRO1 Live Audio System Dual PRO1 FOH and MON system using a DL251 split network Dual PRO1 FOH and MON system with two XL8 DL431s PRO1 Live Audio System Operator Manual
System configurations PRO1 and XL8 sidecar network with up to 528 inputs and up to 160 simultaneous channels. The PRO1 control centre and engine are connected to the XL8 network as an extender. The channel count depends upon the number of I/Os and their configuration.
10 Chapter 2: PRO1 Live Audio System Signal flow The control surface contains the DSP engine, which provides the following time-aligned channels and buses: • 40 input channels • 8 aux input channels optionally time-aligned as effects returns or additional input channels • 16 aux output channels • 3 master channels • 8 matrix channels • 2 solo buses, routable from all locations providing dual monitor formats (in ear/wedge) • 2 master buses, routable from the 40 inputs and 8 aux inputs, and 16
11 Mix matrix Mix matrix Ultimately, the mix matrix defines the PRO1 Live Audio System’s capability. Probably the best way to imagine the mix matrix is to think of an analogue console layout, where inputs run vertically and buses run horizontally. A mix matrix is usually defined as the number of buses and the quantity of simultaneously-mixable inputs there are per bus. The following diagram illustrates the capability within the control centre.
12 Chapter 2: PRO1 Live Audio System • Routing to mono master bus. • Panpot (SIS™). • Direct output. Each of the 16 auxiliary inputs has: • Input gain. • Source from internal FX or external pool input. • Fader. • Panpot (SIS™). • Routing via level controls to the eight matrix buses. • Routing via pan control to the left, right and mono master buses. Mix channel processing Each of the 16 auxiliary mix buses has: • Subgroup, auxiliary or mix minus modes.
Surround capabilities 13 Effects processing and GEQs The PRO1 contains six effects processors and eight mono Klark Teknik (KT) GEQs as standard. However, each effect slot can be sacrificed to gain an additional four GEQ effects.
14 Chapter 2: PRO1 Live Audio System AES standard allows straightforward interfacing with any third party hardware that also utilises this connection. AES50 and HyperMAC connections carry digital audio, control data and standard Ethernet traffic bi-directionally down a single cable. Cat 5e cable is used for the ‘local’ (24-channel) connections. The combination of audio, control, clock and third party Ethernet data in a single network means that the hardware interfaces on a single RJ45 connection.
Integration of third party hardware 15 Integration of third party hardware The PRO1 network includes the capability to interface any third party hardware that uses AES/EBU or AES50 digital audio, or a standard analogue audio interface. Each PRO1 AES/EBU input and output has a sample rate converter. Synchronisation to external AES3 interfaces can be: • Global - via inputs on the routers. • Local to each input. • Local to each output (synchronisation to adjacent local output).
16 Chapter 2: PRO1 Live Audio System PRO1 Live Audio System Operator Manual
17 Chapter 3: About The PRO1 Control Centre This chapter introduces you to the PRO1 Control Centre and provides a brief hardware description. Overview of the PRO1 Control Centre The PRO1 Control Centre comprises a combined control surface and graphical user interface (GUI) that provides an array of easy-to-use controls for the precise manipulation of audio.
18 Chapter 3: About The PRO1 Control Centre PRO1 control surface During show time the functions that require fast access are controlled by control knobs (rotary encoders), pushbutton switches, faders etc. More complex functions that do not require this fast access are controlled via the GUI screen using the trackball and left and right navigational keys.
PRO1 control surface 19 Item Description E I zone Operator-assignable device controls, which also includes a button for direct access to the console overview screen at the upper-left corner and four arrowed scrolling buttons to the right. Utilises the input fast zone’s eight channel faders and eight horizontal assignable controls, which operate in conjunction with a vertical channel detail controller and the GUI screen.
20 Chapter 3: About The PRO1 Control Centre Connections The PRO1 has a rear panel and sockets on the control surface for the connection of mains power, AES50 I/O unit(s), USB devices (includes showfile storage and system updates), keyboards, headphones, talk mics, communications, external monitor, AES3 synchronisation, diagnostics (for service personnel only), lamp and word clocks (75R). For more information, see Chapter 29 "Connections" on page 241.
External interfaces 21 • MIDI: Standard 5-pin connectors are housed in the rear panel of the PRO1 for use as MIDI in, out and through ports. • USB: Two USB ports are provided on the rear panel of the PRO1. In addition, there is a USB port on the control surface (storage section) for removable storage via a USB memory stick. • DVI ports for external monitor: The control centre has a screen output DVI connector on the rear panel of the PRO1 for connecting an external monitor.
22 Chapter 3: About The PRO1 Control Centre PRO1 Live Audio System Operator Manual
Volume 1: Getting Started PRO1 Live Audio System Owner’s Manual
25 Chapter 4: Setting Up The System Before installing, setting up or operating this equipment, make sure that you have read and fully understand all of this section and the “IMPORTANT SAFETY INSTRUCTIONS” at the front of this manual. This chapter shows you how to set up an PRO1 Live Audio System to its default configuration. Note: If you want to set up the PRO1 Live Audio System using a configuration other than the default, please contact Midas Technical Support for details.
26 Chapter 4: Setting Up The System • Before connecting up the equipment, check that the mains power supply voltage rating corresponds with the local mains power supply. The rating of the mains power supply voltage is printed on the equipment. Handling the equipment Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it. When lifting or moving the equipment, always take its size and weight into consideration.
Making up a rack 27 Special accessories To comply with part 15 of the FCC Rules, any special accessories (that is, items that cannot be readily obtained from multiple retail outlets) supplied with this equipment must be used with this equipment; do not use any alternatives as they may not fulfil the RF requirement. Making up a rack If you are making up a rack, there are careful considerations to be addressed beforehand, which are outlined in this section.
28 Chapter 4: Setting Up The System Connecting up Connect your system according to your requirements. For examples of system configuration, see “System configurations” on page 7. To ensure the correct and reliable operation of your equipment, only high quality, balanced, screened, twisted pair audio cable should be used.
29 Connecting up Other connections The section gives details of the other PRO1 Control Centre interconnections.
30 Chapter 4: Setting Up The System Powering the PRO1 system The internal power supplies are of the switch mode type that automatically sense the incoming mains voltage and will work where the nominal voltage is in the range 100VAC to 240VAC. When removing the equipment’s electric plug from the outlet, always hold the plug itself and not the cable. Pulling out the plug by the cable can damage it. Never insert or remove an electric plug with wet hands.
Switching the PRO1 Control Centre on/off 31 Switching the PRO1 Control Centre on/off Carry out the following to switch the PRO1 Control Centre on/off in a safe manner. >> To switch on the PRO1 Control Centre Before switching the PRO1 on, make sure that all monitor loudspeaker power amplifiers are turned off or muted.
32 Chapter 4: Setting Up The System PRO1 Live Audio System Operator Manual
Basic Operation Of The PRO1 Volume 2: PRO1 Live Audio System Owner’s Manual
35 Chapter 5: Before You Start This chapter provides useful background information on PRO1 operation. While this system is a complex, high-tech piece of equipment, we have made it as easy to use and as user-friendly as possible. Principles of operation PRO1 Control Centre operation is based on the concept of colours and groups rather than ‘layering’ or ‘paging’, which is the case with most digital consoles on the market today.
36 Chapter 5: Before You Start Saving a show versus storing a scene It is important to understand the differences between saving a show and storing a scene. • Storing a scene saves the current settings of the system to the show file. Scene data is never updated to the show file unless you manually store a scene. The show file remains unsaved in RAM after storing a scene. Although the state of the control centre is copied every five seconds, it is not stored in a scene.
37 Chapter 6: Working With The PRO1 Control Centre This chapter is intended to familiarise you with the controls (control surface and GUI) of the PRO1 Control Centre. Although many controls on the PRO1 Control Centre are similar to their equivalent analogue-type counterparts, some have been specifically designed for the PRO1, particularly those for navigation and GUI operation.
38 Chapter 6: Working With The PRO1 Control Centre Type Description Example(s) LED Status indication. Meter All of the input, output and monitor peak level meters on the control surface are shown simultaneously on the GUI’s Console Overview screen. Additional peak level meters are included in the direct input and direct output sections of the input bay and mix bay channel strips, respectively.
39 GUI screen layout Status bar The Status bar, which is always displayed at the top of the GUI screen, contains a number of elements as shown in the following diagram. 1 2 3 4 5 6 7 8 9 Item Description 1 home button, opens the GUI menu (see “GUI menu flowchart” on page 294). 2 Screen navigation buttons (see “To find a GUI screen that you recently opened” on page 44). 3 Name of current screen.
40 Chapter 6: Working With The PRO1 Control Centre Values displayed on touch (control knob/fader) You can configure the PRO1 so that, when operating a control knob or fader, the parameter value associated with that control will be displayed on the GUI or LCD select button, respectively. To do this, select the Display Rotary Values option (see “Setting the user interface preferences” on page 225).
41 Operating the GUI screen controls >> To scroll a drop-down list With the drop-down list displayed, do one of the following: • A — Drag the scroll box. • B — Click the scroll bar. The scroll box will ‘jump’ in the direction of the click to another position in the scroll bar. • C — Click an up/down scroll arrow. The scroll box will ‘jump’ in the direction of the scroll arrow to another scroll bar position.
42 Chapter 6: Working With The PRO1 Control Centre • To cancel your changes, click CANCEL. • Click “(X)” at the upper-right corner of the window. >> To move a window Use drag, by clicking on the window’s blue bar (top) and dragging the window where you want it. Graphs Some graphs, such as the crossfade (immediate right) and surround spatial diagram (far right), can be edited on the GUI using drag.
43 Chapter 7: Navigation This chapter introduces you to PRO1 navigation and shows you how to use the navigational tools of the PRO1 Control Centre to navigate its channels, groups and buses. For information on other types of PRO1 navigation, refer to the following: • To navigate the scenes in automation, see “Managing the scenes” on page 81. • To open the GUI’s Patching screen, see “Navigating to the Patching screen” on page 54.
44 Chapter 7: Navigation • Assigning GEQs to the mix bay • Recalling the currently selected channel to the channel fader bay For more information, see the PRO1 Live Audio System Quick Start Guide. About GUI navigation While the control surface provides instant, one-button access to many controls, the GUI provides an alternative way of navigating the PRO1 and offers some unique methods of its own.
45 Chapter 8: Patching This chapter describes the patching function of the PRO1. Introduction The patching function is fundamental to PRO1 operation as, until the I/Os have been correctly patched, you won’t get any audio. Patching is done entirely at the Patching screen, which is a GUI menu option.
46 Chapter 8: Patching 1 7 6 2 5 3 4 Figure 1: A typical Patching screen display Item Description 1 Function button panel, contains the function buttons that enable patching and device configuration (see “Patching screen function buttons” on page 47). 2 Patching area, contains all of the patch connectors on tabs. 3 From section, contains a number of tabs that house all of the patch connector sources (see “About the tabs in the From and To sections” on page 48).
About the Patching screen 47 Patching screen function buttons The function panel buttons of the Patching screen are described in the following table. When a button is selected, its background colour changes to a lighter shade. Legend Description SINGLE Lets you patch a single source to a single destination or multiple destinations. See “Single patching (SINGLE)” on page 64. SEQ. Lets you select multiple sources and then patch them one by one to their destinations.
48 Chapter 8: Patching What the Patching screen symbols mean The following table gives a description of all the symbols that appear on the Patching screen tabs. Symbol Description During patching, this triangle appears under a tab name when its tab sheet contains a selected patch connector. Shown at the top of the channel patch connectors, this box aids channel identification by showing the channel’s user-configured colour. Insert return patch connector. Insert send patch connector.
About the Patching screen Busses tab — From The Busses tab allows routing from the auxes, matrices and master outputs. This tab can also be accessed directly via the dest button in the mixes section of the input channels and in the direct input section of the output channels (see “Direct input” on page 291). Dir. Out (Direct Out) tab — From The Dir. Out (Direct Out) tab allows you to patch any of the 40 input channels internally.
50 Chapter 8: Patching Ins. Sends (Insert Sends) tab — From The Ins. Sends (Insert Sends) tab allows any of the input and output channels to be routed, primarily to an effects device. Effects tab — From The Effects tab allows patching from any of the effects.
51 About the Patching screen Mon. (Monitor) tab — From The Mon. (Monitor) tab allows routing of the monitor outs and external talk destination. This tab can also be accessed via the dest buttons on the Monitors screen. Mon.
52 Chapter 8: Patching Dir. In (Direct Input) tab — To The Dir. In (Direct Input) tab allows you to patch, for example, effects to the outputs. This tab is also accessed from the src button in the configuration section of the output channels (see “Direct input” on page 291). Ins. Ret. (Insert Return) tab — To The Ins. Ret. (Insert Return) tab allows insert returns to be patched to any of the inputs and outputs.
53 About the Patching screen Sidechains tab — To The Sidechains tab allows patching to the compressor and gate of the input and output sidechains. Effects tab — To See “Effects tab — From” on page 50. Mon. (Monitor) tab — To The Mon. (Monitor) tab allows routing to the communications and monitors. This tab can opened using the src buttons on the Monitors screen. Mon.
54 Chapter 8: Patching Mon. tab input Equivalent on the Monitors screen AFL Direct Input Source L afl direct input left AFL Direct Input Source R afl direct input right Navigating to the Patching screen You can access the Patching screen from various other screens in the GUI menu, usually by clicking a source (source) or dest. (destination) button. When you click one of these buttons, not only will the Patching screen open, but the appropriate tab in the From/To section will be open as well.
55 About the Patching screen Device type Description Mic Splitter DL431 Mic Splitter. Line IO DL451 Modular I/O. Generic AES50 Audio-only device that is used to represent the inputs and outputs of any third party AES50 device. DN9696 Klark Teknik DN9696 Recorder. Use up to four of these devices (with IDs 1 to 4) to represent the four AES50 ports for up to 96 channels of recording/playback. Diagram For more information, go to our website www.klarkteknik.com.
56 Chapter 8: Patching 1 2 3 4 6 5 Item Description 1 Unit type. 2 Unit ID number. 3 Unit name and PRO1-assigned unit number. 4 ‘Spanner’ button, opens the device configuration window (see “Configuring the devices” on page 58). 5 XLR patch connector, which is male or female, depending on section location. 6 Patch connector area. (The line I/O device shows the three card slots, A, B and C.
57 Patching tooltips Patching tooltips Patching uses two types of tooltip — standard and list — to convey useful patching information about the patch connectors. A tooltip is a transitory object, in the form of a text box, that only appears while the GUI’s pointer is in the proximity of a patch connector. Standard tooltip The standard tooltip is the default type that appears during all patching operations. The following diagram shows, typically, the type of information provided by a standard tooltip.
58 Chapter 8: Patching >> To select the list tooltip Press LIST. (Pressing LIST again will change the tooltip back to the standard type.) About the patching procedure Although patching can be thought of as routing/rerouting the console’s incoming, internal and outgoing signals, in the context of the Patching screen, patching also encompasses the setting up and configuration of the devices.
59 Configuring the devices About the configuration window The configuration window, which has a similar format for each device, comprises eight channel panels and drop-down lists for channel range/card selection. A typical Line I/O configuration window is used in the following diagram to show the elements that are common to each device. 2 3 1 5 4 Item Description 1 Device ID field, contains the device type and number. 2 Device drop-down list, for device selection.
60 Chapter 8: Patching 3 In a channel, configure its parameters. For example, in channel “In1” adjust the gain and switch on the +48V phantom voltage (shown right). Repeat for the other channels in the card as necessary. 4 Repeat step 2 and step 3 for the other cards as necessary. 5 If necessary repeat step 1 to step 4 for any other devices of the same type. 6 Click OK. Setting up the I/O rack device(s) You can add, remove and set up the devices, such as line I/Os, mic splitters, DN9696s etc.
Setting up the I/O rack device(s) 61 Device set-up procedure The device set-up procedure comprises: • Selecting the port (Stage or FOH) you wish to allocate the device to. • Selecting the device type. • Selecting an ID for the device. • Selecting the options (if any) for the device. >> To add a device or change its set up 1 Click CONFIG. 2 In the AES50 Device Configuration window, click the port you want to allocate the device to; these are listed in the far left of the window.
62 Chapter 8: Patching How to patch Patching, basically, involves selecting the source patching connectors in the From section of the Patching screen and then selecting their destination(s) in the To section. You can select patches singly, or in multiples by using the sequence and automatic operations. About the patch connectors Each patch connector has three possible states, as indicated by its fill colour.
63 How to patch Click To do this in the From section Deselect the patch connector, which then To do this in the To section Remove the patch ( ). Remove the patch ( ). reverts to its previous state (patched or unpatched ). Select the patch connector ( ) and all the ones it is patched to in the To section. (A green triangle under a tab title shows that its tab contains one or more selected patch connectors.) To quickly check the destinations of a source patch connector, click it.
64 Chapter 8: Patching Single patching (SINGLE) The SINGLE function button allows you to patch a single source to a single destination or multiple destinations. >> To patch a single source to a single destination The following example shows you how to patch an output from a mic splitter to an input channel. 1 Click SINGLE. 2 In the From section, click the source patch connector. For example, choose the first patch connector of a mic splitter.
65 How to patch • Destinations are restricted to a single type. • The selected destination forms the start of the automatically patched range of destinations. • Sources and destinations are automatically patched in ascending order, the lowest numbered source and the selected destination forming the first patch. • Sources will only be patched up to the highest numbered destination of the current destination type. If there are any sources left over, automatic patching pauses.
66 Chapter 8: Patching PRO1 Live Audio System Operator Manual
67 Chapter 9: Basic Operation This chapter is intended to familiarise you with the PRO1 Control Centre by showing you how to carry out some basic operations in order to get some audio out of it. Setting a mic amplifier’s input gain The PRO1 Control Centre has two input gains per channel, one is the remote gain for the analogue mic pre (stage box gain) and the other is the digital trim (console gain).
68 Chapter 9: Basic Operation 3 Adjust the gain trim control knob to set the stage box input gain. Range is shown on the GUI. Adjust level to suit the Midas pre-amp characteristic; a suitable level could be one that only just illuminates the yellow LEDs. Drive the mic amps for that ‘Midas colouration’ — feel free to overdrive if you want. 4 After you have achieved the required gain state, press the SWAP button again to swap back to console digital trim.
69 Input equalisation (E zone) Input equalisation (E zone) Use EQ to equalise the input signal via the treble, hi-mid, lo-mid and bass filters, which are in the input channel strip’s E zone. Treble and bass each have a parametric filter option with three specific shelving modes. Visual feedback for EQ is via GUI screen only, which also has a graphical representation of the filter.
70 Chapter 9: Basic Operation Input dynamics processing (D zone) This section deals with assigning compressor and gate dynamics processors using the controls in the input channel strip’s D zone. There are four compressors available — corrective, adaptive, creative and vintage — each with the option of hard knee, medium knee and soft knee (see Appendix A "Application Notes" on page 299).
Output processing 6 71 Press MODE to try the different compressor types (Corrective, Adaptive, Creative and Vintage). For example, Creative (shown right). >> To set up a gate 1 Select the desired input channel. 2 In the channel strip, press the quick access button in the gate section (see Figure 4 “Compressor and gate channel strips” on page 70) to select the input channel’s compressor processing area. 3 Press ON in the gate section to switch the gate in.
72 Chapter 9: Basic Operation Using VCA/POPulation groups VCA and POPulation groups allow simultaneous adjustment of a number of channels. Being instantly recognisable, they provide a quick method of bringing particular channels to the control surface and save you having to remember their name/number. You can choose channel group associations and also configure the colour and legend of each group’s LCD select button, which is used for group member assignment and recall.
73 Using VCA/POPulation groups 5 Press the VCA’s LCD select button again to exit the group. To quickly see which channels are in a particular VCA group, press its SOLO button on/off. Monitor this action on the Console Overview screen. Only the SOLO buttons of channels that are group members will be affected. Configuring VCA/POPulation groups The default name and associated colour of a group, which appear on its LCD select button and on the GUI, can be configured to suit your own preference.
74 Chapter 9: Basic Operation >> To change the colour of all of a group’s members to match that of its VCA/POPulation group Click the fill icon of the group. For example, if the colour of the VCA/POPulation is blue all of its group members will now be blue. Setting up a mix The PRO1 has 24 configurable mix buses, each of which can be aux mixes, subgroups or mix minus. The aux mixes can also be set up as stereo pairs (restricted to likecoloured buses) or mono.
Setting up a mix 75 >> To select the mix bus mode 1 In the mix bay, select the desired aux channel. 2 In the channel strip, press the quick access button to select the aux’s configuration processing area. 3 In the GUI channel strip, click MODE repeatedly to cycle through the mix modes (mix, group and mix minus) to choose the one you want. The currently selected mix mode is shown to the right of the MODE button. group mode is fader only with no pre-fader.
76 Chapter 9: Basic Operation Linking two mixes You can link two mixes together, which is a GUI only feature. Pairs can only be created from adjacent mix buses of the same colour, for example, you can link auxes 3 and 4 together, but not 2 and 3. >> To route an aux or matrix to an effect or output To link a pair of mix buses, click the LINK button in the channel strip of either mix bus. For example, click LINK of aux 15 to link it to aux 16 (shown right).
77 Setting up the effects rack Setting up the effects rack You can set up the effects rack in the GUI menu’s Effects screen to contain any of the available effects listed in the Change Device Type window (see Chapter 16 "Internal Effects" on page 125) in any of the available rack positions. The diagram right shows the rack populated with all available effects. The assignable controls panel (on control surface and GUI) lets you control the parameters of the selected effect.
78 Chapter 9: Basic Operation 7 Click OK to exit. The new effect will appear in the effects rack. You can now patch the new effect, which will be on the Effects tabs of both the From and To sections of the Patching screen. For information on how to patch, see Chapter 5 "Patching" on page 23. Simple routing to master stereo outputs The following shows you how to obtain audio. channel strip >> To obtain audio 1 Make sure nothing is muted and the master faders are up.
79 Automation Automation PRO1 automation is managed from the Automation screen of the GUI menu, with support from the automation section of the control surface. The Automation screen (a typical example is shown right) has the following functions and features: • Show management — see “Managing the shows” on page 79. • Scene management — see “Managing the scenes” on page 81. • Event management — see “Additional control — managing events” on page 82.
80 Chapter 9: Basic Operation 2 At the Enter new show name: message window, type your chosen name for the new show. 3 Click OK. You can now create and manage the scenes for your new show. >> To save a show or create a new one from the current settings Do one of the following: • To update the current show with the latest settings, click SAVE. • To create a new show using the current show settings, click SAVE AS.
81 Automation Managing the scenes Up to three scenes in the cue list will be highlighted to indicate your position in the show, as follows: • LAST (red) — the scene immediately before the most recently loaded one. • NOW (yellow) — the most recently loaded scene. • NEXT (green) — the next available ‘non-empty’ scene. The automation section in the output bay (see “PRO1 control surface” on page 18) supports the Automation screen by providing controls for scene navigation, selection and management.
82 Chapter 9: Basic Operation • Click “Store to next scene” to put the new scene in the next one, provided it is empty. • Click “Overwrite scene” to overwrite the scene currently highlighted in yellow. The options are context-sensitive, so some may be greyed-out to show that they are unavailable. An OK button will appear at the bottom of the window when a valid store scene option has been selected. 5 Click OK.
Configuring the inputs and outputs 83 Show editor The show editor is a GUI-only function that allows you to very easily copy and paste settings through scenes. This is done via the Show Editor screen. The Scenelist on the right of the screen is a cue list of the current show. Source lists (channels, GEQs, effects and groups) are to the left of the screen, from which you can copy the settings, and in the middle (Sections) are the areas you can copy.
84 Chapter 9: Basic Operation Using copy and paste The copy and paste buttons (upper-right corner of GUI) let you copy the parameters of a channel’s processing area (EQ, compressor, gate etc.) or all of its details areas, and paste them to another channel/ all channels of a similar type. Both buttons have a right-click menu. >> To copy a processing area to a channel/all channels 1 Navigate the processing area to its local channel strip. 2 Click copy.
User library (presets) 85 User library (presets) The PRO1 has a user library where you can store settings, such as for the EQ or even the whole channel. For example, you may wish to store the EQ settings of a singer who may be called upon to perform during a future show. You can then easily recall these EQ settings to the appropriate channel when required. The settings are stored as presets, which are saved in a library. The library files are managed via a Preset Manager screen in the GUI menu.
86 Chapter 9: Basic Operation Surround panning In addition to stereo and left-centreright (LCR) panning, PRO1 has three surround panning modes: quad; left, centre, right and surround (LCRS); and 5.1 surround. To help you visualise the surround panning envelope, the masters processing area of the GUI channel strip has a spatial diagram (shown right) that updates when you operate the panning controls. L C R Position cursor Sound image Speaker The 5.
87 Surround panning L C 30° 110° ±10° Ls LFE R 30° 110° ±10° Listening distance Rs Key: C = centre L = left Ls = left surround R = right Rs = right surround LFE = low frequency effects (usually a subwoofer) Figure 7: 5.1 surround panning loudspeaker arrangement In surround mode, the SIS button routes the channel to the surround buses in much the same way that the ST button routes to the master buses.
88 Chapter 9: Basic Operation Saving your show files to a USB memory stick When you are satisfied that your show file is how you want it, we recommend that you save it to a removable storage device (USB memory stick). This provides a valuable back up should the show file stored in the internal memory of the PRO1 be lost, for example, due to inadvertent deletion. You can also load show files onto the PRO1 from the same storage device.
89 External AES50 synchronisation >> To load (import) a show file from a USB memory stick The procedure is similar to the export procedure, as detailed in “To save (export) a show file to a USB memory stick” above, but select the file to be imported to the PRO1 from the Removable Storage panel and then click IMPORT.
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Advanced Operation And Features Volume 3: PRO1 Live Audio System Owner’s Manual
93 Chapter 10: Stereo Linking This chapter describes stereo linking, or channel pairing, which lets you configure two adjacent channels as stereo. Linking is a GUI-only function, as there are no link buttons on the control surface. The diagram right gives an example of two linked channels (auxes 15 and 16).
94 Chapter 10: Stereo Linking >> To set the global default stereo linking parameters for a channel type 1 At the GUI, choose homePreferencesGeneral, and then click the Linking tab to open the Preferences Link screen (shown right). 2 In the desired channel section, choose the default stereo linking options you require, and then click the local Change Existing button (at bottom of section).
95 Chapter 11: Panning The PRO1 has two main types of panning mode, default and surround. The default mode comprises stereo and LCR panning formats, and only uses the channels for the front loudspeakers, while the surround mode includes channels for the rear surround loudspeakers. For more information, see “Surround panning” on page 86. The following table shows the panning formats available on the PRO1. Table 3: Panning formats Panning mode No.
96 Chapter 11: Panning SIS™ (LCR) mode The MIDAS SIS™, which is used for left-centre-right (LCR) loudspeaker systems, configures the channel for LCR mixing. The SIS switch activates the spatial imaging system, which uses the SIS image control knob to modify pan control knob operation so as to place the channel within a three-speaker system. With SIS image control knob set fully clockwise or anti-clockwise, image is full LCR or stereo, respectively.
97 SIS™ (LCR) mode SIS image control knob centred (equal power) With both the SIS image and pan control knobs centred, the signal is routed to all three speakers with equal power.
98 Chapter 11: Panning Surround panning When the PRO1 is configured to operate in one of the surround panning modes, the spatial diagram that appears in the GUI channel strip gives you a visual representation of the sound image in relation to the speakers. The following diagram shows the appearance of the GUI channel strip for each panning mode, and describes the controls. None Quad LCRS 5.
99 Speaker placement Speaker placement As the placement of loudspeakers is very important for accurate mix monitoring — especially for multi-channel mixing for surround sound — you should consider speaker positioning, angling and level calibration when setting up your monitor system. If necessary consult the manufacturer of your monitor system for their recommended surround formats.
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101 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.
102 Chapter 12: Soloing Table 4: Solo A destination controls Control Options Description PFL direct input - Direct inject to solo A from linked console, active only while solo A is PFL. AFL direct input - Direct inject to solo A from linked console, active only while solo A is AFL. Solo add • On (additive solos) • Off (self-cancelling solos) Disable self-cancelling solo A solos.
Solo hierarchy 103 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, namely auxes, matrices and masters.
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105 Chapter 13: Muting Muting is useful for turning off channels you don’t want to listen to. The channel mutes turn off outputs from the channel. See Appendix B “Functional Block Diagrams” for which outputs are affected when channel mute is active. Channel mutes can be activated by: • Local press. • Auto-mutes (see “Auto-mute (mute) groups” on page 163). • VCAs (see “VCA and POPulation groups” on page 159). • Scene recall (see Chapter 20 "Scenes And Shows (Automation)" on page 177).
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107 Chapter 14: Monitors And Communications This chapter describes the monitoring and communications functions of the PRO1. Monitors (A and B) To match the two-bus solo system there are two monitor outputs, A and B, which control their respective output levels. These are controlled from the monitor section on the master bay (see Figure 8 “Monitor A and B strips” on page 108). Each monitor output has: • The ability to monitor mono and stereo outputs, and an external input. • An external talkback input.
108 Chapter 14: Monitors And Communications 9 10 1 2 12 13 4 5 6 3 8 12 13 11 5 4 6 7 8 Figure 8: Monitor A and B strips Item Description 1 Monitor a strip on the GUI. 2 Monitor b strip on the GUI. 3 monitor a/b strip on the control surface. For controlling current monitor assignment (A or B). 4 This MUTE button mutes the right monitor signal. On the control surface, it mutes the right monitor signal of the current monitor assignment (A or B).
109 Monitors (A and B) Item Description 10 left and right meters for monitor b (GUI only). 11 left and right meters for the monitor (A or B) currently assigned to the monitor section on the control surface. 12 Left monitor signal. On the control surface, it is the left monitor signal of the current monitor assignment (A or B). 13 Right monitor signal. On the control surface, it is the right monitor signal of the current monitor assignment (A or B).
110 Chapter 14: Monitors And Communications Solo system solo a and solo b system sections allow solo signals to be selected independently for each monitor system (A and B). These can be selected as AFL (PFL extinguished), PFL (PFL illuminated), additive (ADD enabled) or interlock cancelling. The monitor outputs can be configured for normal or broadcast use and both modes change the interleaving logic between differing areas of the monitor output.
111 Solo system >> To activate SIP 1 At the GUI, choose homeMonitors. Then click solo in place. 2 In the “Activate SIP ?” message window, click OK. >> To deactivate SIP On the GUI, click the solo in place button on the Monitors screen. C/O switch The C/O (to fader) switch on the control surface swaps control of the headphone output and solo A output between the phones (solo a) control knob and the monitor fader.
112 Chapter 14: Monitors And Communications LFT button RGT button Off On Right monitor signal is routed to both of the monitor speaker outputs. On On Left and right monitor signal routing is swapped over, that is, left monitor signal is routed to the right monitor speaker output, and the right one is routed to the left monitor speaker output. Monitor signal routing source (a and b) sections The source a and source b sections contain monitor input selector switches.
Solo system 113 solo mode section On the GUI, the solo mode section has a select button by which you can select one of the following options. The LEDs to the left of the options illuminate to show which option is in operation. • normal — both solo systems (A and B), are active and behave as a single solo system. • broadcast — routes stereo masters to the monitor A output and activates all the solo B controls so that soloed material is routed to the monitor B outputs.
114 Chapter 14: Monitors And Communications Signal generator The signal generator section can output to pink noise (pink noise generator) or sine wave tone (sinusoidal oscillator), and connect to the internal and external talk buses. 1 2 6 5 4 3 6 5 4 Signal generator controls on the control surface and GUI Item Element Description 1 freq control knob Gives continuous adjustment of the sinusoidal oscillator frequency from 50Hz to 5kHz.
115 Talk osc/routing Talk osc/routing The talk / osc routing, or ‘internal talk groups’ section, sends signal generator and talk mic signals to buses within the control centre. It contains four talk group switches used for selecting the destination of the talk and OSC internal signals. The GUI has an additional four configuration switches for programming.
116 Chapter 14: Monitors And Communications Talk mic The control surface has an internal talk mic that lets you talk to external locations, and you can also be talked to from an external location. Internal talk mic This is located in the talk mic section, and contains the controls for both the internal talk mic and external talkback functions, which control a talkback microphone connected to the DL251/DL252 Audio System I/O.
117 Talk mic Item Element Description 3 level control knob Gives continuous adjustment to the post-limiter signal from off (4) to +10dB. 4 limiter control knob Gives continuous adjustment of the peak limiter value from 0dB to +20dB. 5 mic gain control knob Provides continuous mic amplifier gain adjustment of the mic connected to mix bay control surface. Range is +15dB to +60dB and operates in conjunction with the peak limiter. 6 Talk patching sections.
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119 Chapter 15: Graphic Equaliser (GEQ) This chapter describes the internal GEQs of the PRO Series. Initially, it explains how to use the PRO1 Control Centre to configure and operate the GEQs and then details all of their available control functions. Overview of the GEQs The PRO1 Control Centre incorporates a graphic equaliser (GEQ), which is closely based on the Klark Teknik DN370 Graphic Equaliser (see the DN370 operator manual for details).
120 Chapter 15: Graphic Equaliser (GEQ) A B C Graphic EQs screen A. GEQ rack overview (if PRO1 is configured for more than eight GEQs) B. GEQ virtual rack C. GEQ patching source >> To open the Graphic EQs screen Do one of the following: • At the GUI, choose homeRack UnitsGraphic EQs. • In the navigation zone, press the effects/graphics access button twice. >> To open a GEQ rack Do one of the following: • In the Graphic EQs screen, click on the desired unit.
121 About the GEQ window About the GEQ window In the centre of the GUI screen, the GEQ window shows the selected GEQ’s front panel. This gives you full control of the GEQ via the GUI controls in the navigation zone by using the trackball and left and right buttons. Below the GEQ is an assignable controls panel that lets you select and control the GEQ faders (singly or in groups) and the controls on the right.
122 Chapter 15: Graphic Equaliser (GEQ) >> To patch a source to a GEQ 1 Open the window of the GEQ. 2 Open the GEQ source drop-down list. (An unpatched GEQ will have “None” displayed in the text field.) 3 In the drop-down list, click the source you want. For example, “Aux Send 3”. The new patching assignment will appear in the source name field (as shown right) and in the border on the left of GEQ panel. 4 Click CLOSE to accept the change and close the GEQ’s window.
Configuring the number of GEQs (and effects) 123 Item Control Function 5 EQ button Selects the EQ. The adjacent green IN LED shows the EQ is on (illuminated) or is being bypassed (extinguished). 6 10-segment meter Shows the incoming signal level and is pre-EQ (but post-gain control).
124 Chapter 15: Graphic Equaliser (GEQ) Copying settings between GEQs You can copy and paste all the settings of one GEQ to another. >> To copy the settings of one GEQ to another GEQ 1 In the GEQ rack of the Graphic EQs screen, open the window of the GEQ that you want to copy the settings from. 2 In the GEQ window, click COPY. 3 Close the GEQ window and then open the window of the GEQ that you want to paste the settings to. 4 In the GEQ window, click PASTE.
125 Chapter 16: Internal Effects This chapter describes the internal effects of the PRO1. Initially, it explains how to use the PRO1 Control Centre to operate the effects and then details all of their available control functions and their use. Overview of the internal effects The Effects screen manages up to six user-assignable effects devices, which are a ‘bundle’ of onboard creative audio effects that provide onboard facilities where outboard effects units would have traditionally been required.
126 Chapter 16: Internal Effects Rack unit number allocation Each unit position in the rack is allocated a rack number that is recognised by the PRO Series Live Audio System (shown right). 1 2 3 4 5 6 About the effect window Similarly to the GEQ window on the GUI, the effect window shows a screen-width version of the selected effect, which gives you full control of the effect via the trackball and left and right buttons in the navigation zone.
127 Working with the effects Item Element Description 6 Effect panel For details of the front panel for each effect, refer to the effect sections later on in this chapter. 7 Effect name For naming the effect. >> To open an effect window In the Effects screen, click on a non-control area of the effect you want. Working with the effects There are a number of ways of handling the effects, such as setting up, configuration and operation, all of which involve the use of the GUI.
128 Chapter 16: Internal Effects Delay effect The delay effect provides simple delay line based effects. Delay times can be specified manually or by means of a ‘tempo-tap’ button. Three-mode delay algorithm: • Single — one delay tap (mono or stereo processing). • Dual — two delay lines (stereo insert only). • Ping-pong — two delay lines with cross feedback.
129 Virtual DN780 reverb effect Item Control Function 15 Gain control knob Adjusts the amount of gain between -20 and +20, with 0 at top dead centre. 16 Mix control knob Adjusts the mix between dry (0%) wet (100%). 17 HF Depth control knob Adjusts depth of HF damping modulation. Range is 0 to 100, with 50 at top dead centre. 18 Right channel delay time control knob For entering the desired delay time (in ms). 19 Tempo control knob Adjusts the tempo in tempo mode.
130 Chapter 16: Internal Effects Item Control Function 6 PATTERN control knob REFLECTIONS section control that controls the ‘density’ of early reflections. Selects the number and spacing of Early Reflections/ADT/Multi-tap delays. Range is from 1 to 9. 7 PRE DELAY control knob Controls the amount of delay (in milliseconds) between the initial signal and the onset of reverberation. On certain program types, pre-delay is inserted between early reflections and reverb to improve authenticity.
131 Flanger effect Flanger effect The flanger effect consists of one or, if configured as stereo, two dual-tap delay lines. One tap is fixed and the other tap position is modulated to provide ‘thru-zero’ flanging or single tap modulation when ‘thru-zero’ is off. 1 2 3 14 15 18 17 16 6 13 12 4 11 5 7 10 9 8 Item Control Function 1 Delay control knob Adjust length of modulated delay line in milliseconds. In ‘thru-zero’ mode, also sets the delay of the dry path. Range is 0.
132 Chapter 16: Internal Effects Item Control Function 14 Depth control knob LFO Sweep section control for adjusting the intensity of the effect by setting the depth of modulation as a percentage. Interactive with Delay, as for Chorus. Range is 0% to 100%. 15 Thru Zero switch LFO Sweep section control for selecting ‘thru zero’ or normal mode. Illuminates to indicate switch is on. 16 Spread control knob LFO Sweep section control for setting the relative phase of left/right modulation.
133 Phaser effect Item Control Function 7 feedback control knob Adjusts the amount of negative/positive feedback applied to the phaser. Range is from -100% to +100%, with 0% at top dead centre. 8 spin control knob Adjusts the amount of relative phase of left/right modulation. Range is from 0% to 100%. 9 STAGES button Selects the number of all pass stages, which sets the number of notches in the frequency response. 10 SWEEP button Sets the modulation waveform shape.
134 Chapter 16: Internal Effects Pitch shifter effect The pitch shifter effect is a sound processing device for changing the pitch of an audio signal without changing its duration. 16 1 2 1 3 2 4 3 5 4 6 5 7 6 7 8 9 10 11 12 13 14 15 Item Control Function 1 COARSE control knob Adjusts the pitch shifting amount in whole tones. Range is from -12 to +12, with 0 at top dead centre. The numerical value is shown underneath.
135 SQ1 Dynamics effect Item Control Function 15 ON switch Switches pitch shifter effect on/off. 16 Win Sz control knob Sets the window size used by the pitch shift algorithm. High values result in larger latency, but better quality for low frequency or polyphonic audio source. Low values produce low latency and work best on monophonic audio source.
136 Chapter 16: Internal Effects Item Control Function 5 RELEASE control knob Adjusts the time it takes the compressor to recover or the gate to close after the programme material falls back below threshold, depending on which is selected. 6 GATE HOLD control knob Minimises chattering in conjunction with internal hysteresis (see “Intelligent threshold shift (i-TS)” on page 137). Once the signal is detected as below threshold, this control defines a waiting period before the gate starts to close.
137 SQ1 Dynamics effect Item Control Function 17 LINK switch with yellow LED Each adjacent pair of channels has an intermediate LINK switch that, when enabled, links them together (see “Stereo and multiple channel operation - linking” on page 138). 18 s/c solos are in place red LED Illuminates to indicate that the master solo in place is enabled.
138 Chapter 16: Internal Effects occurring. Thus, attacks are a little more aggressive but the adaptive nature of the RMS detection is still allowed to operate to its fullest extent. This mode is good for natural sounding limiting of speech. Compressor hard knee and vintage With the VINTAGE and HARD KNEE switches both switched on, the compressor operates with more precise envelope control and, again, with a more defined transition between under and over threshold.
139 SQ1 Dynamics effect Example 1 OW OW SL SL 0.03 0.3 2ms 2s 200 -15 2 6 8 200 2 6 200 20 2 6 200 OW OW 2s -15 -3 0dB GATE HOLD 2 6 200 800 8 FILTER NARROW RANGE COMP MODE POWER VINTAGE HARD KNEE 4 800 FILTER NARROW 10 16k 40Hz 16k SOLO EXT KEY 16 BYPASS GATE 18 SIDE CHAIN FREQUENCY 14 SOLO EXT KEY 16 40Hz 12 SIDE CHAIN FREQUENCY 14 BYPASS 0.3 2ms ATTEN DEPTH 10 12 SOLO EXT KEY GATE 18 0.
140 Chapter 16: Internal Effects 3-Band compressor effect The 3-band compressor effect is for applying different compression profiles to different areas of the audio spectrum. 1 10 2 3 4 9 8 7 6 5 11 12 Item Control Function 1 In button Switches the stereo 3-band compressor in/out. It has an adjacent LED (yellow) for in/out indication. 2 Threshold control knob This control is in the Lo, Mid and Hi sections, and is used for setting the threshold at which compression begins.
141 Dynamic EQ Dynamic EQ The dynamic EQ is a 4-band parametric dynamic equaliser, which is able to provide frequency selective compression or expansion. The dynamic EQ features proportional-q filters that, when boosting or cutting by small amounts, reduce the bandwidth of the filter compared to the setting at maximum cut/boost. Filter coefficients are calculated at the audio rate to provide a lightning fast attack time, which is essential for transparent operation.
142 Chapter 16: Internal Effects Item Element Function 1 MODE button Selects the routing configuration. Audio routing paths are illustrated by item 18. 2 Band selection indicator Shows the selected routing configuration mode. 3 Limit curve Shows the minimum cut/maximum boost EQ response for the selected band. 4 Dynamic curve Shows the real time dynamic EQ response curve.
143 Dynamic EQ Above Threshold Compression ( Below = off, Ratio = comp ) Output Level Output Level threshold Input Level Below Threshold Compression ( Below = on, Ratio = comp ) Output Level threshold Input Level Below Threshold Expansion ( Below = on, Ratio = exp ) Output Level threshold Input Level Figure 9: Transfer characteristics PRO1 Live Audio System Operator Manual Above Threshold Expansion ( Below = off, Ratio = exp ) threshold Input Level
144 Chapter 16: Internal Effects Ambience reverb The ambience reverb adds warmth and depth to source material without adding the obvious artefacts commonly associated with artificial reverbs. It simulates smaller rooms using diffuse early reflections with the additional flexibility of separate reverb tail level and decay control. Reflective surface materials and air absorption properties can be simulated by adjusting the high and low frequency cut amount and high frequency damping.
145 Chamber reverb Chamber reverb The chamber reverb emulates the sound of echo chambers found in early recording studios. This is characterised by a rapid build up of reflection density within a small to medium sized space coupled with a relatively colourless and smooth decay. Reflective surface materials and air absorption properties can be simulated by adjusting the high and low frequency cut amount and high frequency damping.
146 Chapter 16: Internal Effects Item Element Function 12 diffusion control knob Increases the density of both the early reflections and reverb tail, between 0 and 100%. 13 decay control knob Adjusts the decay time relative to the room size, from minimum to maximum. 14 size control knob Specifies the room size (also affects decay), from small to large. 15 pre delay control knob Specifies the time before the reverb begins, between 0ms and 200ms.
147 Hall reverb Item Element Function 1 input meter Two adjacent 11-LED columns — one each for left and right — comprise the input meters. 2 mix control knob Adjusts the dry/wet signal ratio. 3 modulation control knob Specifies the combined rate and depth of modulation applied the reverb tail. 4 contour time control knob Controls the time over which the reflection density increases during the initial portion of the reverb tail, between fast and slow.
148 Chapter 16: Internal Effects Plate reverb The plate reverb effect simulates the actual plate reverb devices that were used in studios in the 1960s and 1970s. They were literally a plate of metal that was suspended under tension with a transudcer to transmit audio to the plate while two or more contact microphones were attached to the plate to pick up the results.
149 Vintage room Item Element Function 12 diffusion control knob Increases the density of both the early reflections and reverb tail, between 0 and 100%. 13 decay control knob Adjusts the decay time relative to the room size, from minimum to maximum. 14 size control knob Specifies the room size (also affects decay), from small to large. 15 pre delay control knob Specifies the time before the reverb begins, between 0ms and 200ms.
150 Chapter 16: Internal Effects Item Element Function 8 lf cut control knob Low frequency cut control knob applies a 6dB/Oct high pass filter to the input signal, in the range 10Hz to 500Hz. 9 hf decay control knob Adjusts the ratio of decay for high frequency content, between 0.1 and 1.0. 10 lf decay control knob Adjusts the ratio of decay for low frequency content, between 0.1 and 10.0. 11 density control knob Increases the reflection density of the reverb tail, between 0 and 100%.
151 Dual stereo delay Dual stereo delay The dual stereo delay effect is a simpler, more concise, version of the current delay device with the advantage of having two units in one effect device rack space. The dual stereo delay is a dual stereo in and dual stereo out device with metering for each discrete input and output. BPM display mode: • Tempo is accurate to 0.1 bpm. • With global tap enabled the display shows global tempo regardless of delay time setting.
152 Chapter 16: Internal Effects Item Element(s) Function 7 lf cut controls This low frequency control knob applies a 6dB/Oct high pass filter to the delay and optionally feedback signal (by switching on the post fb switch below). The default is post-delay and pre-feedback. Range is from 10Hz to 500Hz. 8 hf cut controls This high frequency control knob applies a 6dB/Oct low pass filter to the delay and optionally feedback signal (by switching on the post fb switch below).
153 Matrix mixer Input screen The input screen shows the signal level, delay and output send contributions for the inputs and, to the right, an overview of the outputs with facility for muting. 8 1 2 7 6 9 5 3 4 Item Element Function 1 level control knob Continuous adjustment of the input level from 4 (infinity) to +10dB. 2 Meter 11-segment meter for showing the input channel level. 3 Up/down arrows Increases/decreases the input delay time (shown in milliseconds and metres) in 0.
154 Chapter 16: Internal Effects Output screen The output screen shows the output channel controls with a processing area underneath for the selected channel. An inputs section to the left provides an input overview, with facility for muting.
155 Matrix mixer Item Element Function 1 Meter 8-segment meter for showing the input channel level. 2 MUTE switch Mutes in input channel. 3 Meter 8-segment meter for showing the output channel level. 4 MUTE switch Mutes the output channel. 5 Phase switch Adjusts the output signal phase by 180°. 6 EQ switch Switches the output channel EQ in/out. 7 LNK switch Links the EQ of the local output channel to the adjacent output channel to the right.
156 Chapter 16: Internal Effects Item Element Function 25 Icon Identifies the currently selected EQ shelving mode (see “EQ (E zone)” on page 266). Default parametric icon is . 26 EQ switch Switches the EQ in/out for the selected channel. 27 eq link LED Illuminates to indicate that the EQ is on for the selected channel.
157 Matrix mixer Figure 10: Scrolling order of right arrow navigation button Stereo linking Clicking a stereo linking button (LNK) stereo links the local pair of output channels, so that the input mix send controls operate as pan on the left (odd numbered) output channel and level on the right (even numbered) output channel, which is similar to the normal mix sends on the console.
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159 Chapter 17: Control Groups PRO1 control groups comprise VCA, POPulation, MCA, auto-mute and talk groups. This chapter explains the functions of each of these groups and shows you the areas on the control surface and GUI that are used for their operation and management. VCA and POPulation groups A VCA/POPulation group can contain any combination of channels. When you select a group via the control surface its channel members are unfolded to the channel faders from right to left.
160 Chapter 17: Control Groups VCA groups There are eight VCA groups, which are accessible via the mix fader LCD select buttons when configured for VCA operation. 6 5 4 3 2 7 8 1 4 9 3 2 VCA groups on the control surface and GUI Item Description 1 LCD select button, selects the VCA group and is also used for group member assignment. 2 VCA group control, adds its level control on top of the local channel fader controls of the group members.
VCA and POPulation groups 161 Item Description 4 MUTE switch. This is, technically, not a mute but a fader minus infinity (-∞) switch that overrides the VCA group master (without moving its physical position). The VCA group mutes can be stored and recalled as part of the scene automation.
162 Chapter 17: Control Groups POPulation groups There are six POPulation groups. Although similar to VGA groups in their methods of group management and selection, they have limited functionality. 3 2 1 POPulation groups on the control surface and GUI Item Description 1 LCD select button, selects the VCA group and is also used for group member assignment. 2 unfold button, assigns the POPulation group to the control surface, unfolding the group members to the channel faders.
163 Auto-mute (mute) groups Auto-mute (mute) groups You can simultaneously mute any channels you want by assigning them to an auto-mute group. You can have up to six auto-mute groups, each one being enabled by its own MUTE button in the population and mute groups section. Auto-mute groups are managed via the Mute Groups screen of the GUI menu, from where you can assign channels to any of the groups.
164 Chapter 17: Control Groups >> To open the Mute Groups screen At the GUI, choose homeControl GroupsMute Groups. >> To program mute group at the control surface 1 In the auto mute groups section (master bay), press and hold the SELECT button of your chosen auto-mute group. 2 Do one of the following: • To add inputs to the group, press the LCD select button of each input channel you want in the group. If necessary navigate the input channels you want to the control surface.
165 About the control group screens Item Control Function 1 Group member selection lists These group type-dependent lists let you choose which inputs, returns, auxes, matrices and masters you want as members in the selected group. If necessary, use the slider on the right of a panel to access all non-members. You can add more than one member at once by using the Ctrl and Shift keys on the keyboard. Shift will select a range of members and Ctrl will act as an individual toggle.
166 Chapter 17: Control Groups Configuring the groups homeControl GroupsGroup Sheet Similarly to the Input Sheet screen, the Group Sheet screen lets you change the name and background colour of each group as they appear on the GUI screen and LCD select switch. Additionally, you can change the colour of all the current members of the group to match the group colour by clicking the fill button . >> To open the Group Sheet screen At the GUI, choose homeControl GroupsGroup Sheet.
167 Chapter 18: Copy And Paste The PRO1 has a number of copy and paste features that make it easy to copy useful settings to other areas. You can copy and paste the following: • Processing areas across channels — see “Using copy and paste” on page 84. • Parameters across GEQs — see “Copying settings between GEQs” on page 124. • Parameters through scenes — see “Show editor” on page 83. • Scenes — see “Copying and deleting scenes” on page 185 and “To copy and paste sections to a scene(s)” on page 83.
168 Chapter 18: Copy And Paste PRO1 Live Audio System Operator Manual
169 Chapter 19: Assignable Controls This chapter describes the assignable controls section, which has full GUI support and lets you do the following: • Operate specific processing area controls of the channels currently assigned to the channel faders (see “Operating the channel fader assignments” on page 170). • Control any rotary on the control surface (see “Controlling a rotary control” on page 171).
170 Chapter 19: Assignable Controls Operating the channel fader assignments During normal operation the assignments of the assignable controls section follow the cross-hair (see “GUI cross-hair” on page 39) processing area selection. This lets you control a predetermined button and control knob within the selected processing area. You can change the button assignment within a processing area (using the ALT button), but the control knob assignment remains fixed.
171 Controlling a rotary control Controlling a rotary control An important function of the PRO1 is one that lets you operate any of the control knob functions on the control surface, such as gain trim, compressor/gate threshold and level, and even any of the internal effects (but not the GEQs), from the assignable controls section. This gives you quick access to the controls that are currently the most useful to you.
172 Chapter 19: Assignable Controls >> To open the Assignable Controls window Press the quick access button in the assignable controls section (see “The assignable controls section on the control surface” on page 169). In the example shown right no controls have been assigned.
173 Controlling an internal effect/GEQ Controlling an internal effect/GEQ As the internal effects and GEQs of the PRO1 are primarily GUI-only features, control surface support is provided by the assignable controls section, which lets you operate their parameters using physical controls. With an internal rack unit selected on the GUI, a specific set of its parameter controls will be automatically assigned to the assignable controls section.
174 Chapter 19: Assignable Controls Item Description 4 Effects only: Description of the effect’s button currently assigned to the button. GEQ only: Will show either the text “zoom n” (where n is number from 1 to 8) or “overview” to indicate which display you are in, that is, overview or zoom, respectively. 5 Navigation buttons, which replicate the arrow buttons to the right of the assignable controls section on the control surface (see “Rack and unit control navigation” on page 174).
175 Controlling a GEQ Figure 12: Changing the effect parameter assignments Controlling a GEQ You can use the assignable controls section to adjust the faders and controls of an internal GEQ, such as the high/low pass filters, notch filters, slope, etc. To accommodate all of the faders there are, effectively, two levels of display, known as “overview” and “zoom”. The overview display appears when you open the window of the GEQ, and lets you adjust a group of GEQ faders simultaneously by the same amount.
176 Chapter 19: Assignable Controls In the zoom display, each of the assignable control buttons ‘zooms in’ on a specific group of faders. Each fader is assigned its own control knob in the assignable controls section, so that it can be operated individually. The right navigation arrow button opens the GEQs control panel (far right).
177 Chapter 20: Scenes And Shows (Automation) This chapter shows you how to use scenes and shows, which are part of PRO1 automation. About automation Automation is predominantly a GUI-only function that allows complex editing of scenes and the creation of show files via the GUI menu. The control surface provides limited control via the automation section, which facilitates fast store/recall operation during show time and rehearsals.
178 Chapter 20: Scenes And Shows (Automation) Automation controls Although automation is supported on the master bay control surface by the automation section, most of the functionality is accessed via the GUI. The Automation screen allows editing of scenes, show files and events, and provides access to the scope editing screens. Additionally, the GUI has a Files screen for show file management and transfer.
Automation screen 179 Automation screen The Automation screen (shown right) contains information on the following: • Scenes — see “Scenes” on page 180. • Shows — see “Show files” on page 188. • Scope — see Chapter 21 "Scope (Automation)" on page 193. • Events — see Chapter 23 "Crossfades (Automation)" on page 207. For details of how to open the Automation screen, see “To open the Automation screen” on page 79.
180 Chapter 20: Scenes And Shows (Automation) • Clear Selection: Unchecks any scenes that have been checked. • Exit: Closes the right-click menu. Scenes The scene management areas of the Automation screen are is intended for fast operation during show time and rehearsals. They let you edit, copy, delete, store and recall scenes, and can be broadly subdivided into the following areas.
Scene contents 181 For details of how to recall a scene and create a new scene from the currently selected one, see “Managing the scenes” on page 81. Scene contents A scene contains all of the control centre settings that existed at the point of creation, except: • Anything that is explicitly taken out of store or recall using the automation scope controls. • All solo, monitor and comms section controls. • All surface selection or navigational control settings.
182 Chapter 20: Scenes And Shows (Automation) Date and time The current date and time, and the duration of the current scene are displayed towards the top of the Automation screen. Today’s date Current time Duration of current scene Scene cue list The scene cue list provides you with an overview of the show. It tells you at a glance where you are in the performance and provides scene information, such as scene number and title, some of which are editable.
183 Scene cue list Item Element Description 7 Edit column Contains a tick box per scene/event, which is used for selection purposes when reordering scenes, see “Changing the order of the scenes” on page 186. 8 Eye symbol Opens the Show window (see “Configuring the scene cue list view” on page 184). 9 GLOBAL scene See “Additional control — managing events” on page 82. 10 safe scene See “Safe scene (scene 0)” on page 181. 11 Scroll bar Lets you scroll to the other scenes.
184 Chapter 20: Scenes And Shows (Automation) Configuring the scene cue list view You can exclude any of the following elements from the scene cue list (see “Scene cue list” on page 182), which is done via the Show window (shown right): • Empty scenes • Global events • MIDI events • GPI/O events • Internal events >> To configure the scene cue list view 1 Click the eye symbol 2 In the Show window, select (tick) the desired option(s). 3 Click OK.
Adding a new scene 185 Adding a new scene You can add a new scene anywhere in the cue list. The new scene can be inserted in the cue list or you can overwrite an existing scene, which replaces it with the new one. >> To insert a new scene 1 Right-click the scene before which you want to insert the new one. 2 From the right-click menu, choose Insert Scene. >> To overwrite an existing scene with a new one 1 Right-click the scene you want to overwrite.
186 Chapter 20: Scenes And Shows (Automation) Changing the order of the scenes You can change the order of the scenes in the cue list. This is done using REORDER SCENES button. You can reorder as many scenes as you want by selecting them in the order you want them to appear in the reordered list. >> To reorder the scenes 1 In the Automation screen, click REORDER SCENES. The grey double arrowhead symbol will appear in each box in the Edit column.
Using patching in automation 187 Using patching in automation The Automate Patching option switches on per-scene automatic routing, and must be used with caution. To alert you to the drastic consequences of using this option, a WARNING window appears. You can change the patching of certain sources and destinations on a per-scene basis. For example, you have an input channel’s compressor side chain patched from one source in one scene and from a different source in another scene.
188 Chapter 20: Scenes And Shows (Automation) Show files Show files are only handled via the GUI, using the Automation and Files screens of the GUI menu. Managing show files The Automation screen lets you create new shows, load existing ones and update the current show file with the latest settings.
189 Rehearsals Managing show files on the Files screen Show files can be transferred between the PRO1 and an external USB device, such as a USB memory stick. This allows you to backup and archive your show files, so none will be lost, and also transfer them to other PRO1s. You can even create templates for new shows, so that you don’t have to start from scratch, or modify existing show files. All this is done via the Files screen (see “About the Files screen” on page 219).
190 Chapter 20: Scenes And Shows (Automation) Safes Important: Safes are intended for emergency use only and are not to be confused with scope (see Chapter 21 "Scope (Automation)" on page 193). PRO1 safes prevent certain controls from being recalled with a scene. Safe activation and status are provided on both the control surface (channel safes section) and the GUI (Hardware Safe screen). The channel safes screen on the control surface and the GUI Hardware Safe screen. Click KEY to open the Key window.
191 Safes >> To open the Hardware Safe screen At the GUI, choose homeAutomationHardware Safe. >> To switch a safe on/off Do one of the following: • At the GUI’s Hardware Safe screen, click the desired safe to switch it on/off. This can be done for any safe. • Use the appropriate button in the channel safes section with the appropriate channel assigned to the control surface. • At the GUI’s VCA Groups screen, click the desired safe button.
192 Chapter 20: Scenes And Shows (Automation) PRO1 Live Audio System Operator Manual
193 Chapter 21: Scope (Automation) This chapter shows you how to use the scope feature of PRO1 automation to include/exclude specific parameters on scene store/recall. Although scope has two functions, recall and store, the emphasis in this chapter is on recall scope, which will be the most commonly used of them both. Store scope will only be required in certain circumstances, and even then it must only be used with caution (see “Using store scope” on page 199).
194 Chapter 21: Scope (Automation) Item Element Description 3 INDV. CHANNEL button Scope function button for selecting all of the parameter sections of a single channel on the scope screen. 4 CONSOLE WIDE button Scope function button for selecting all of the parameter sections of every channel on the scope screen. 5 ALL button Scope function button that selects all of the parameter sections on the scope screen, that is, for every channel, assignable effect and internal GEQ.
195 Selecting scope parameter sections Assignable Effects (internal effects) and Graphic EQs Matrix (matrices) Variable Control Associations (VCA and POP.
196 Chapter 21: Scope (Automation) >> To select a single parameter section 1 Click SINGLE. 2 Click the desired parameter section (shown right). In some cases more than one parameter section may be selected. This may occur if: • The parameter section belongs to a channel that is stereo linked. The equivalent parameter section of the other paired channel will also be selected. • Other channels are patched to the same source as the channel in which you are making your selection.
Selecting scope parameter sections 197 >> To select a single parameter section console wide 1 Click CONSOLE WIDE. 2 In any channel, click the desired parameter section. For example, clicking the fader parameter of input channel 1 selects the fader parameter of every channel. >> To select every parameter section on the console Click ALL. Every parameter section on the Recall Scope screen is selected (as shown right).
198 Chapter 21: Scope (Automation) Selecting bus parameters As a channel’s bus parameter section represents all of its available buses collectively, you can only select either all or none of its buses using the scope function buttons. However, by clicking the bus parameter section you can open its ‘bus select’ window, which lets you select any buses you want out of scene. In this window each aux/matrix bus is represented by an single icon, and only available buses are shown.
Saving scope parameters in a scene 199 Saving scope parameters in a scene Scope parameters have to be saved in a scene. >> To save your selected parameters in a scene 1 Save the parameters you want into a scene (see “To create a new scene using the current settings” on page 81). 2 Select the desired recall scope parameters (see “Selecting scope parameter sections” on page 195).
200 Chapter 21: Scope (Automation) PRO1 Live Audio System Operator Manual
201 Chapter 22: Events (Automation) This chapter shows you how to use the events of the PRO1’s automation. About events There are four types of event — MIDI, GPIO, internal and crossfade — that you can have in a scene, and you can have any combination of each. You can choose whether the event is triggered on the PRO1 or on an external device. For more information on events and also how to create, edit and copy/paste an event, see “Additional control — managing events” on page 82.
202 Chapter 22: Events (Automation) About the Edit Event window You can edit the parameters of an event on the GUI in the Edit Event window. 9 1 8 2 3 4 5 6 7 Item Description 1 Disable Event tick box, for choosing whether the event is missed out (skipped) during a rehearsal. 2 TEST EVENT button, for executing the selected outgoing MIDI or GPIO event using the current event parameters. 3 When... section for selecting the parameters that trigger the event.
203 Programming events Programming events Each type of event is programmed in a similar way, regardless of whether it is an incoming/outgoing MIDI or GPIO event, or an internal event. However, the options in the Edit Event window may vary depending on the chosen event. >> To program an event 1 Open the Edit Event window (see “To edit an event” on page 82). 2 In the Event Name section, type in the event name. If you want to skip this event during a rehearsal, select the Disable Event option.
204 Chapter 22: Events (Automation) Table 7: Incoming event options When ... (from top list downwards) Any IO Box, IO ID1 to IO ID 18 Any MIDI Channel, Channel 1 to Channel 16 Then do this...
205 Programming events Parameter Description Next Opens the next scene on the PRO1. This scene is the same one that would be opened if you pressed the next button. Now Opens the ‘now’ scene on the PRO1. This scene is the same one that would be opened if you pressed the now button. Note Off Informs the instrument to stop playing a note at a specified pitch and velocity. Parameters for Note Off are notes A0 to C7, with each having a possible velocity of between 0 and 127.
206 Chapter 22: Events (Automation) PRO1 Live Audio System Operator Manual
207 Chapter 23: Crossfades (Automation) This chapter shows you how to use crossfades. Crossfades are events that are triggered using the standard event mechanism, and are managed via the Automation screen. A crossfade event is managed in a similar way to any other event, such as GPIO and MIDI, and is detailed later on in this section.
208 Chapter 23: Crossfades (Automation) Item Element Description 3 Parameter dropdown list For choosing the level control that you want the crossfade to operate on (see “About the crossfade parameters” on page 208). 4 Crossfade Group drop-down list Contains all of the available user-configured crossfade groups. Also includes the default example group that contains all possible crossfade sources. About the crossfade parameters The following diagram shows the PRO1 configured for 5.
209 About the crossfade Edit Event window Using a crossfade mute The Mute option of the Parameters list lets you initiate a mute at the end of a crossfade down operation. For example, if you set a crossfade of two seconds, the mute will turn on after this time has expired (provided it was off). If the crossfade is a ‘crossfade up’, the mute will turn off during the crossfade up time (provided it was on).
210 Chapter 23: Crossfades (Automation) >> To create a crossfade event 1 Open the Edit Event window. 2 If you want to disable this event, select the Disable Event option. 3 In the When... section, select the parameters that will trigger the event. 4 If you want to incorporate a time offset delay between the event being triggered and the start of the event, set a time in the Time Offset section. 5 In the Then do this... drop-down list, select the X-Fade Event option.
211 Crossfade groups Note: The graph display shows the current longest crossfade in progress. So, if a delayed crossfade starts during the current one, and it is longer than the current one, the graph will change to show the new crossfade. You can manually override the crossfade using the controls in the automation section of the output bay (see “Manually controlling a crossfade” on page 214). Crossfade groups Crossfade groups let you choose which channels/buses/groups will contain the crossfade.
212 Chapter 23: Crossfades (Automation) Item Description 9 A, I and N buttons. Each section in the crossfade source panel has a set of these buttons, which select all members in the list, invert the current list selection or deselect all members in the list, respectively. 10 A panel containing a list of channels, buses or groups available for crossfade group membership. >> To open the Crossfade Groups screen At the GUI menu’s Automation screen, click Crossfade Group Edit.
Global events 213 >> To delete a crossfade group In the Crossfade Group List panel, select the crossfade group you want to delete and then click Delete. You cannot delete the “example group” crossfade control group. Global events The GLOBAL scene, at the top of the cue list in the Automation screen, lets you have the same crossfade(s) in every scene. However, any scene-based crossfade(s) will override the global one(s) if both are present.
214 Chapter 23: Crossfades (Automation) Manually controlling a crossfade The controls in the automation section let you manually override the crossfade. The cancel, now and ok buttons in the automation section Control Function during crossfade cancel button Pauses the crossfade. Pressing the cancel button again, while the crossfade is paused, cancels the crossfade. Note: The level of the control on which the crossfade is operating will remain at the point at which it was paused.
215 Chapter 24: User Libraries (Presets) User libraries is a GUI only feature that provides a method of handling presets. The GUI menu has an option that opens the Preset Manager screen. For more information on presets, including details of how to save and load a preset, see “User library (presets)” on page 85. About the Preset Manager screen Using the Preset Manager screen, you can create new user libraries, load existing ones or save the current one.
216 Chapter 24: User Libraries (Presets) Table 9: Description of Preset Manager screen function buttons Button Use to New Create a new preset library. Load Load a preset library. SAVE Save any unsaved changes that have been made to the currently loaded preset library. Save As Create a new preset library from the current one. Delete Delete the currently selected preset. Import Import all presets from a preset library into the one currently loaded.
Managing user libraries 217 Managing user libraries The background of the SAVE button in the Preset Manager screen changes to red when changes have been made to the current user library, but they haven’t yet been saved. We recommend that you save these changes regularly. >> To create a new preset library 1 In the Preset Manager screen, click New.
218 Chapter 24: User Libraries (Presets) >> To import a preset library into the one currently selected 1 In the Preset Manager screen, click Import. 2 In the Load File window, click the preset library whose contents you want to import. 3 Click OK. If the currently selected preset library has unsaved changes, the window message “The Preset Library has not been saved Do you wish to continue?” will appear. To continue importing, click OK. If you want, you can save the changes by clicking SAVE.
219 Chapter 25: File Management This chapter shows you how to import/export your show and preset files. About the Files screen The Files screen manages files on the control centre (Control Surface panel) and any removable storage device (Removable Storage panel) that is currently plugged into one of the USB ports (see “Control surface” on page 246). Each panel lists the files contained on its own storage media.
220 Chapter 25: File Management Item Description 6 Removable Storage panel, shows the files currently stored on the storage media (typically, a USB memory key) that is plugged into the active USB socket on the control centre (see “Control surface” on page 246). This panel only appears when the storage media is connected to the control centre, otherwise it is blank. Immediately after plugging in the storage media, you will probably see the message “Analysing...”, while its contents are being read.
221 Chapter 26: Using Other Devices With The PRO1 This chapter explains how to use other external devices with the PRO1. Using multiple digital consoles CHANGING THE SYNCHRONISATION CAN RESULT IN LOUD NOISES FROM THE SYSTEM. ALWAYS MUTE THE PA AT THE AMPLIFIER/SPEAKER BEFORE CHANGING THE SYNCHRONISATION SOURCE OR MASTER/SLAVE STATUS. You can use an PRO1 together with one or more digital consoles, which can be other Midas digital consoles or indeed any digital console.
222 Chapter 26: Using Other Devices With The PRO1 Sharing the A and B inputs of the mic splitter If you are using two Midas digital consoles, you must configure them to use the A or B inputs of the mic splitters. Although it doesn’t matter which inputs each console uses, they can’t use the same ones. Also, both consoles must be synchronised.
223 Chapter 27: Changing The Preferences This chapter shows you how to change the user settings of the PRO1 to suit your own preferences and the current working environment. For information on configuring the number of GEQs and effects, see “Configuring the number of GEQs (and effects)” on page 123. Setting the meter preferences The Metering section of the User tab provides global parameter adjustment of all of the meters on the control centre.
224 Chapter 27: Changing The Preferences Configuring playback The Playback: Input Channel Source option of the Configuration tab lets you set the record and playback options of a virtual soundcheck. • Lets you select the input channel source as Normal or Tape Return via the radio buttons. • Enable all Tape Returns — enables all tape returns. • Disable all Tape Returns — disables all tape returns.
Selecting the surround mode 225 Selecting the surround mode The Surround Mode section of the Show tab lets you select the type of surround mode that the PRO1 uses. For information, see “Selecting the surround mode” on page 225 and “Surround panning” on page 98. Setting the time and date The Date and Time section of the Configuration tab lets you change the PRO1’s time and date. >> To set the time and date of the PRO1 1 At a GUI screen, choose homePreferencesGeneral.
226 Chapter 27: Changing The Preferences • Send Pan Follows Channel Pan — if a channel is contributing to a stereo mix bus (for example, stereo aux channel), choosing this option will cause the pan for the contribution to mirror that of the channel pan.
Changing the signal processing preferences 227 Changing the signal processing preferences The DSP Timeout section of the Configuration tab lets you set the amount of time (between 10 and 600 seconds) the DSPs will continue to run after an update is received from the control surface, before the audio is muted. The inf. tick box is for selecting infinity, which will allow audio to continue indefinitely if power to the control surface is lost.
228 Chapter 27: Changing The Preferences 3 Click Start. The server will take several seconds to start up. Once up and running, the status will confirm the IP address. You can stop the server at any time by clicking Stop. This will disable external control of the console. Important: We recommend that you do not connect the console to an unsecured or public network, as other users could potentially take control of the console. * Avoid using addresses in the range 192.168.20.
229 Chapter 28: Delay Compensation (Latency) A time delay is induced in a channel’s signal by placing, for example, an insert or GEQ in its path. This delay affects system latency and can also produce undesirable audio effects. To overcome this the PRO1 incorporates a system of user-configurable delay compensation parameters. These are presented to the user in the form of button-selectable options on the GUI and can be switched on or off to suit the current application.
230 Chapter 28: Delay Compensation (Latency) To avoid the comb filtering effect, the PRO1 insert compensation works by delaying all channels except the ones that have inserts assigned. In practice, the actual delay used for compensation depends on the type of insert (internal/external) and its location (stage/FOH). Each channel type or layer within the console, such as, input, aux, master or matrix, has its own parameter controlling the delay compensation for that layer.
231 GUI Delay Compensation options Section Option Description Recommendations Insert Compensates for inserts placed in aux buses. To do this it modifies the delay that sits between the input channel outputs and master/matrix channel inputs, so that signals fed from inputs to masters will line up with signals fed from inputs through auxes to masters. If there are no inserts on any aux channels, switch this option off to reduce overall system latency.
232 Chapter 28: Delay Compensation (Latency) Monitor Mode (Align with Masters) The default console bus structure is organised such that inputs can be routed to masters, and also simultaneously routed to masters and matrix channels via aux buses (see Figure 19 “Routing via aux buses”) or via aux and return buses (see Figure 18 “Routing via aux and return buses”), while maintaining the same overall input to output latency in both paths.
233 Zones Monitor Mode = ON, all other compensation = OFF Aux Bus Alignment = OFF, all other compensation = OFF Input Channel Master Channel Matrix Channel Input toAux, Aux,Master Master Matrix Input to && Matrix OutputLatency Latency = 1.79 Output = 1.
234 Chapter 28: Delay Compensation (Latency) The input to direct output latency depends on the direct output mode and the Inserts option of the Input Channel insert delay compensation status according to the following table. Input channel insert compensation (ms) Direct Output mode Off On Pre-processing 0.59 0.59 Post-processing 0.948 1.
235 Typical configurations Typical configurations Here are some actual examples of typical configurations to illustrate the effects of delay compensation. Please note the following: • All XLRs are located at stage end, unless FOH is stated. • INS can mean an internal effect or an external effect with analogue, or AES3 I/O at either FOH or stage position.
236 Chapter 28: Delay Compensation (Latency) • XLR – IP – AS (With GEQ) – MTX (With GEQ) FOH Mix Low Latency The following table shows the delay compensation settings for this mix. Option On/off status Master to Matrix Post-processing Off Input Channels Insert Off Aux Sends Monitor Mode (Align with Masters) Insert Send-FX-Return Graphic EQ Off Off On Off Master and Matrix Insert Graphic EQ Off On The following example signal paths all measure the same latency of 366 samples @ 96kHz = 3.
237 Typical configurations Monitor Mix The following table shows the delay compensation settings for this mix. Option On/off status Master to Matrix Post-processing Off Input Channels Insert Off Aux Sends Monitor Mode (Align with Masters) Insert Send-FX-Return Graphic EQ On On Off On Master and Matrix Insert Graphic EQ On On The following example signal paths all measure the same latency of 300 samples @ 96kHz = 3.
238 Chapter 28: Delay Compensation (Latency) Monitor Mix (Low Latency) The following table shows the delay compensation settings for this mix.
Description Volume 4: PRO1 Live Audio System Owner’s Manual
241 Chapter 29: Connections This chapter describes the external connections of the PRO1. For information on powering the PRO1 up/down, PRO1 system interconnections and rear panel connections, see the PRO1 Quick Start Guide. Rear panel connectors PRO1 rear panel To ensure the correct and reliable operation of the equipment, only high quality balanced, screened, twisted pair audio cable should be used. The AES3 adapter cable is to be 110 Ohms.
242 Chapter 29: Connections 1 3 2 Line output audio connector. Female XLR plug and male XLR chassis connector. 1. Ground. 2. Hot. 3. Cold. BNC connector and 75 Ohms coaxial cable for word clock and video sync. 9-way, D-type connector for diagnostics purposes. (For use by service personnel only.) MIDI connector (in, out or thru). 5-pin plug and socket.
243 Rear panel connectors A 100Mb/s Ethernet control port for connection of a Neutrik etherCON Ethernet connector. DVI connector. USB type A connector. Bi-directional digital audio EtherCon® ports. 2 1 3 The talk back input connector accepts a male XLR plug. 1. Ground. 2. Hot. 3. Cold.
244 Chapter 29: Connections The AES3 sync input and output connectors are for synchronisation with external devices that can transmit/receive a 96kHz AES3 signal. They accept a female XLR plug and male XLR plug, respectively. The two pairs of AES3 input and output connectors are for synchronisation with external devices that can transmit/receive a 96kHz AES3 signal. They accept a female XLR plug and male XLR plug, respectively. 1 2 3 4 IEC connector for mains power supply. 1. N/A. 2. N/A. 3. Ground. 4.
Rear panel connectors IEC connector for mains power supply.
246 Chapter 29: Connections Control surface The PRO1 has a rear connector panel that caters for the connection of mains power leads, 19” rack unit(s), USB memory keys, keyboards, headphones, talk mics, communications, external monitor, AES3 synchronisation, diagnostics (for service personnel only), lamp and word clocks (75R). The control surface houses a USB connector for uploading/downloading show files and updating the system software, and a connector for a talk mic.
247 Chapter 30: Input Channels By default, all of the input channels are mono, although any two adjacent channels (odd left and even right) can be linked to form a stereo pair. The order of processing in the signal path of both channel types is basically the same. The order of the descriptive sections in this chapter loosely follows the signal path taken by the input channels. However, this varies according to signal processing order and the operation of certain controls.
248 Chapter 30: Input Channels Input channel areas The input channels are assigned to the channel bay faders. However, by using the EXTEND button in the channel faders section (see the PRO1 Control Centre Quick Start Guide for details) the mix bay faders can be used as well. Detail adjustment of the input channels is augmented by the channel processing areas. The GUI provides extensive input channel support and also provides extra functionality.
249 Inputs on the GUI Inputs on the GUI The GUI replicates the channel faders by displaying the eight channels currently assigned to them. When an input channel is selected the GUI’s channel strip displays the channel’s input channel overview. From this display, you can access processing areas by clicking within specific sections (avoiding any controls). For details of how to operate the GUI, see Chapter 6 “Working With The PRO1 Control Centre”.
250 Chapter 30: Input Channels • Mix buses • Masters (faders, solo, panning etc.) For details of how to navigate the GUI channel strip, see “About GUI navigation” on page 44. Configuration Compressor Gate EQ input channel overview A Matrix buses Insert Aux buses Masters B B B Figure 22: Processing areas available from the input channel overview display. A. Depends on what device is connected (for example, DL251 Audio System I/O or DL451 Modular I/O). B.
251 Input metering Input metering The Console Overview screen shows all of the meters all of the time. Meters can be switched globally to monitor the raw A/D input point, and are also individually switchable using the meter CHECK button in the gain section (see “Mic amp input gain (preliminary input processing)” on page 254). 3 1 2 6 Channel meters 7 8 4 1 5 3 2 6 Item Description 1 11-segment meter for showing the input channel level. 2 SOLO switch for switching the input channel’s solo on/off.
252 Chapter 30: Input Channels In flip mode the appearance of the Console Overview screen changes to indicate mix send selection. It does this by changing the fader section background colour of the relevant channels to match the associated colour of the selected mix send, which is also shown in text towards the upper-left corner of the screen (highlighted right). In the example display shown right, aux send 5 (yellow) is currently selected.
Channel configuration controls 253 Input channel ID (GUI only) You can change the channel name via the GUI, which can be done directly in the input channel overview or in any of the processing areas (see “Text editing” on page 42). To change the background colour of the input channel name field (default is green), open the Naming Sheet screen of the GUI menu.
254 Chapter 30: Input Channels Safes Each input channel has six different safes that protect specific controls/areas from the automation system. You can switch the safes on/off by using the buttons in the channel safes section of the channel strips or via those in the input channel safes section on the GUI, which also illuminate when they are on. For more information on what areas are protected by each safe, see Appendix H "Parameters Protected By Safes" on page 397.
255 Mic amp input gain (preliminary input processing) 4 12 5 7 2 1 6 13 7 11 6/14 10 5 4 14 9 7 12 6 10 11 15 8 DL251 DL351 DL431 DL451 Mic amp input gain on the control surface and GUI Item Control Function 1 48V switch (stage box only) Connects 48 volts of phantom power to the XLR mic input channel connector. Suitable for a condenser microphone or DI box. 2 TALK switch Connects talk mic and/or tone and noise generators to the input channel.
256 Chapter 30: Input Channels Item Control Function 5 SLOPE switch (digital trim only) Selects the low pass filter. Where, switch on (illuminated) = 12dB slope and switch off = 6dB slope. 6 stage box control knob Adjusts the input gain of the remote amplifier in 5dB steps, ranging from -5dB to +40dB. Note that the stage box control knob on the control surface will only adjust the gain currently selected to the GUI input channel strip, that is, stage box or digital trim.
Mic amp input gain (preliminary input processing) 257 Using gain swap Operating the gain SWAP button, swaps the function of the gain control (top of input fast strips) between that of the digital trim and stage box gain. In addition, if the Fast Zone Delay Control option (see “Setting the user interface preferences” on page 225) is enabled, input delay is also included in the swap. Always check the GUI for ‘swap’ status.
258 Chapter 30: Input Channels Direct output The direct output section lets you to take a signal directly out of a defined point in the input channel’s signal path and route it to either an internal assignable effect or a physical output (a physical connection at one of the line I/O boxes). This function is optional and assigned on a channel-by-channel basis. This section is deliberately distanced from the main channel panel controls because it is a limited resource and unused on many channels.
259 Dynamics (D zone) Item Description Function 6 Direct output drop-down list Displays the destination(s) of the direct output. For example, to an O/B vehicle, while simultaneously going into a DN9696. 7 MODE button Changes the source tap-off point for the signal. There are three options: post-fader and mute; pre-mute and post-processing; or pre-mute and pre-processing. This function is not used if the direct output is not unassigned to channel.
260 Chapter 30: Input Channels Compressor The input channel compressor has four styles — corrective, adaptive, creative and vintage — which are selectable via the MODE button. Each has a distinctive sound and a different appearance in the GUI channel strip. While the dynamic section is addressing the compressor, all of its controls are enabled except the hold control knob.
261 Dynamics (D zone) Item Description 4 Compressor KNEE switch, controls how compressor starts to apply gain as the signal goes through the threshold (see “About the compressor graph” on page 262). There are three knee types as follows, accompanied by their typical affects on the compressor graph: • Hard knee Compressor immediately applies gain reduction at selected ratio once attack time has elapsed. This knee has hardly any curve at all. • Medium knee Intermediate knee type.
262 Chapter 30: Input Channels The GUI shows a graph of the compressor envelope (input level against the output level) to help you visualise the effect that the compressor is having on the signal (typically as shown right). Output level About the compressor graph Figure 23 “Compressor graphs showing the effect of ratio” shows what happens to the compressor graph with and without ratio.
263 Dynamics (D zone) With a signal running through the compressor, a coloured line on the graph follows the contour of the shaded graph area. The line’s colour changes according to signal level to show the level of compression, that is, uncompressed (green), within knee area (yellow) or at full compression (red). An example of each is shown in the following diagram. Uncompressed Within knee area Fully compressed If signal doesn’t reach threshold (point where gradient changes), the line is green.
264 Chapter 30: Input Channels Gate Unlike the compressor, gate mode has only one style. While the dynamic section is addressing the gate, all of its controls are enabled except the make up control knob and the MODE and KNEE buttons. 7 6 5 8 9 11 8 5 1 4 3 D zone 2 10 7 9 8 6 2 Item Description 1 Up/down select buttons, for swapping dynamic section control from compressor to gate, and vice versa.
265 Dynamics (D zone) Side chain You can manipulate the side chain filter from the side chain section (channel strip and GUI). The side chain filter is a swept band pass type, which acts on the dynamics side chains of the compressor and gate, and covers the full audio spectrum.
266 Chapter 30: Input Channels Item Description 6 Graph, shows the effects of the side chain filter on the signal. 7 Side chain source field, shows you where the side chain of the compressor/ gate is sourced from. If you see the text “internal” here, it means that the source is from the channel itself. For details of how to select a side chain pick-off point, see “Side chain” on page 265.
267 EQ (E zone) can be used to control the signal, although only one band can be adjusted in the E zone at any time. The E zone contains all of the PEQ controls, along with a shelving mode selection button and a set of band selection buttons. 2 E zone 3 1 4 7 6 5 2 3 11 8 5 3 10 Treble and bass shelving modes 3 3 9 6 Item Description 1 EQ on/off switch. 2 freq control knob adjusts the band’s centre frequency.
268 Chapter 30: Input Channels Item Description 5 gain control knob, adjusts the gain of each band in the range -16dB to +16dB. And on the graph in the EQ processing area of the GUI channel strip, this causes the envelope to move up/down. 6 width control knob, adjusts the signal bandwidth in the range 0.1 Oct to 3.0 Oct. On the graph in the EQ processing area (GUI channel strip), causes the base of the envelope to widen. (Not available for treble and bass shelving modes.
269 Mixes Mixes Each input channel can send an individually controllable contribution to each of the 16 aux buses (aux sends) and eight matrix buses (mtx sends). The contributions to the buses are controlled by mix controls that give continuous adjustment (in the range +6dB to off). The controls in the mix fader bay include level/pan and level control knobs, with the pan control coming into operation when the corresponding bus is stereo linked to its neighbour.
270 Chapter 30: Input Channels However, the GUI’s input channel overview gives a simultaneous display of the status of all 24 buses. It displays the levels sent to the buses and shows which are on/off and whether they are pre- or postfader. Don’t forget, you can edit the levels on the GUI using drag. Mix busses can operate in one of three modes and each mix bus can optionally be stereo linked to the bus next to it.
271 Master controls Master controls In general, there are three routing switches to the master buses and also pan control. Pan provides master panning as three-way or two-way (depending on SIS™ setting) and also provides two-way panning for any stereo mix groups stereo and subgroups etc. (When used in fader flip mode, sends to mix buses are controlled from the channel master pan and fader.
272 Chapter 30: Input Channels Item Description 3 pan control knob, adjusts the relative levels sent to a left-right bus pair or the master left-centre-right (LCR) buses. In SIS™ mode, it can also control the ‘image’ to give a constant power crossfade from LCR to stereo. 4 MON (mono) switch, connects post-fader channel signal to mono master bus. 5 mono level/SIS image dual-function control knob. In mono mode, it acts as a mono level control knob to adjust the mono signal level.
273 Solo, mute and fader Solo, mute and fader Each input fast strip contains the MUTE and SOLO buttons motorised fader. The fader is replicated in each input fast strip on the GUI and also in the masters processing area (GUI channel strip). The fader controls the channel signal level and provides instant feedback of level settings. 1 2 3 2 4 3 5 5 Item Description 1 LCD select button. 2 MUTE button, mutes all post-processing signals exiting the channel.
274 Chapter 30: Input Channels The LCD select buttons in the input fast strips are used for input channel navigation and group selection. They also provide useful feedback for the user. For more information on navigation, see “About the PRO1 controls” on page 37. Aux returns The aux returns are input channels and their functionality is as broadly described for the mic inputs in the earlier sections of this chapter.
275 Chapter 31: Output Channels This chapter shows you the areas on the control surface that are used to manage the outputs and also describes their function. There are three type of output: auxes, matrices and masters. The structure of this chapter is loosely based on the signal path of the output channels and also the processing areas, which are opened via the output channel overview displays in the GUI channel strip.
276 Chapter 31: Output Channels Output channel areas on the control surface In the default mode of operation the output channels are assigned to the mix faders. However, by using the OUTPUT and EXTEND buttons (see the PRO1 Control Centre Quick Start Guide) they can also be extended to the channel faders as well. Detail adjustment is augmented by the channel processing areas. The hardware controls are replicated on GUI, which also provides extensive support and additional functionality.
277 Outputs on the GUI Outputs on the GUI The outputs are represented on the GUI in a similar way to the inputs, although each has a different coloured background. Each output channel has a GUI fast strip and these are displayed in banks of eight (except for the three masters). When a channel is selected, its overview is displayed in the GUI channel strip; selecting a non-control area in an overview section will open its associated processing area.
278 Chapter 31: Output Channels Processing areas The following processing areas are available from ‘overview’ displays in the GUI channel strip. To see the available processing areas for each output, see Figure 25, Figure 26 and Figure 27.
279 Outputs on the GUI Compressor EQ aux send overview Insert and Configuration Masters Insert Matrix buses A A B A Figure 25: Processing areas available from the aux send overview display. A. The display in this area depends on surround configuration. B. The insert processing area is selected via the quick access button in the insert processing area or by clicking in the insert section of a channel strip on the GUI.
280 Chapter 31: Output Channels Insert and Configuration Compressor matrix overview Fader EQ Insert A Figure 26: Processing areas available from the matrix overview display A. The insert processing area is selected via the quick access button in the insert processing area or by clicking in the insert section of a channel strip on the GUI.
281 Output metering Compressor EQ master overview Insert and Configuration Fader Insert Matrix buses A A B A Figure 27: Processing areas available from the master overview display. A. The display in this area depends on surround configuration. B. The insert processing area is selected via the quick access button in the insert processing area or by clicking in the insert section of a channel strip on the GUI.
282 Chapter 31: Output Channels Talk There is a talk switch in the channel processing area on the control surface and also on the output ‘overview’ displays of the GUI channel strip. If the TALK/[TLK] (internal) switch in the talk mic section is active, the talk buttons will illuminate to prompt the operator to select a bus that the talk signals should be routed to. These are also used to set up a talk group after pressing one of the talk/osc routing panel buttons.
283 Dynamics and EQ Compressor (D zone) For the outputs, the dynamic section (D zone) only has a compressor in the output channel signal path. As the D zone is also used for the gate on the input channels, some controls may be redundant. The output channel compressor has five styles — corrective, adaptive, creative, vintage and shimmer — which are selectable via the MODE button. Each has a distinctive appearance in the GUI channel strip.
284 Chapter 31: Output Channels Item Description 4 comp/gate up and down select buttons, for swapping dynamic section control from compressor to gate, and vice versa. 5 Compressor make up gain control knob, compensates for the reduced loudness of a compressed signal. Range is from 0dB to 24dB. 6 Compressor KNEE switch, controls how compressor starts to apply attenuation as the signal goes through the threshold (see “About the compressor graph” on page 262).
285 Dynamics and EQ 4 E zone 5 1 7 3 4 2 2 5 6 Bands 1, 2 and 6 shelving modes Item Description 1 Up/down band navigation buttons (see “Navigating the PEQ output bands” on page 287). Also used in conjunction with the blue adjacent LEDs to show which band is currently selected. Illuminated up arrow means that band 5 is selected, and illuminated down arrow means that band 2 is selected. 2 gain control knob, adjusts signal gain in the range -16dB to +16dB.
286 Chapter 31: Output Channels Item Description 6 SHAPE button, changes the shelving mode on treble and bass bands. For a description of each mode, see “PRO1 output channel EQ modes” on page 303. 7 Shelving symbol. 8 Graph of EQ envelope (see “EQ graph” on page 287). When “OFF” is displayed, EQ is switched off. GEQ You can access the output GEQ (shown right) from the EQ processing area of the GUI channel strip.
287 Dynamics and EQ Navigating the PEQ output bands You can change band selection by clicking the UP/DOWN buttons in the EQ processing area. This will change selection by one band at a time. Yellow rectangle shows which four bands are currently displayed. Bands are shown in descending order from top to bottom (Band 6 is top). Band navigation buttons.
288 Chapter 31: Output Channels Mute, safes, level and solo Each output fast strip (control surface and GUI) has controls for muting, soloing, safes and output signal level control. This is supported on the GUI in the appropriate processing area. They also each have a SELECT button for navigation. In addition, the channel strips (control surface and GUI) have the full complement of safes.
289 Output channel configuration controls Item Description 4 FADER/[FDR] switch, switches fader safe on so that the fader is removed from scene recall. 5 MUTE/[MTE] switch, switches mute safe on so that mute is removed from the scene recall and auto-mute action. 6 AUTO/[AUT] switch, switches auto safe on so that the channel is removed from scene recall (this does not affect the action of the auto-mutes and VCA control groups) and control is removed from VCA control group faders.
290 Chapter 31: Output Channels Output channel ID (GUI only) You can change the channel name that appears in the GUI channel strip (see “Text editing” on page 42). This can be done in the output channel overview or in any of the processing areas. You can also change the background colour of the output channel name field, which is done in the homeMix & OutputsNaming Sheet screen of the GUI menu (see “Configuring VCA/POPulation groups” on page 73).
Output channel configuration controls 291 Direct input The direct input section provides an internal connection to effects etc. or an external input into the output from an effect or line I/O unit. It allows you to take a signal directly out of a defined point in the input channel’s signal path and route it to either an internal assignable effect or to one of the physical outputs (a physical connection at one of the line I/O boxes). This function is optional and assigned on a channel-by-channel basis.
292 Chapter 31: Output Channels Mixes Each of the aux and master output channels can send a variable contribution to the mixes on each of the eight matrix buses. The buses are controlled in pairs via mix controls that give continuous adjustment (in the range +6dB to off) of sub group levels sent to matrix mixes. The controls in the mix section (mix and master bays) include level/pan and level control knobs for each bus pair, whose function (auxes only) depends on the current bus mode in operation.
293 Chapter 32: GUI Menu The GUI is a very powerful multi-functional tool that forms the core of the PRO1 Control Centre. It gives you total control and monitoring of the operating environment, enhances control surface operation (you can even operate the PRO1 by GUI-only) and allows the use of internal and external devices. To facilitate this the GUI incorporates a simple-to-use GUI menu. The GUI menu presents you with a list of options from which to choose, depending on your requirement.
294 Chapter 32: GUI Menu GUI menu flowchart The GUI menu and all of its available submenus are shown in Figure 28 “GUI menu flowchart” on page 294. Icons to the left of the options help to identify the option type and aid navigation. A black triangle to the right of a menu option shows that it has a submenu. Note: Only the submenu for inputs 1 to 8 is shown right, as the submenus for the other inputs (9 to 96) are similar.
295 GUI menu options GUI menu options When you open the GUI menu, you are presented with a main list of options that open specific screens or submenus, as shown in the following table. You can access some of the screens directly from the screen access buttons in the navigation zone (see “PRO1 control surface” on page 18). Option Description/function Default Opens the default display. Files Opens the Files screen (see “Managing show files on the Files screen” on page 189).
296 Chapter 32: GUI Menu Option Description/function Automation Automation option, which opens a submenu with the following options: • Automation — opens the Automation screen (see Chapter 20 "Scenes And Shows (Automation)" on page 177). • Show Editor — opens the Show Editor screen (see “Show editor” on page 83). • Crossfade Groups — opens the Crossfade Groups screen (see “Crossfade groups” on page 211). • Hardware Safe — opens the Hardware Safe screen (see “Safes” on page 190).
Volume 5: Appendices PRO1 Live Audio System Owner’s Manual
299 Appendix A: Application Notes This chapter provides more in-depth information on certain areas and function of the PRO1. Spatial imaging system (SIS™) Although conventional consoles can be used for three-channel mixing, the methods for doing so are complicated and unorthodox. This forces the engineer to work in unaccustomed ways, limiting creative flexibility, and making use by visiting operators impractical. The spatial imaging system (SIS™) has been developed to overcome this.
300 Appendix A: Application Notes Attack The attack control adjusts the time taken for the compressor to respond to an over-threshold signal. The shape of the attack can be selected from one of the five mode combinations mentioned above, making the compressor easily adaptable for a wide number of creative and corrective applications. Release The release control adjusts the time the compressor takes to recover after the programme material falls back below threshold.
PRO1 compressor modes (dynamic) 301 Knee The soft knee curves behave in a traditional way to blend the compression ratio around the threshold setting (as described above), but more importantly they also have a significant effect on the attack envelope shapes. The soft knee typically slows down attack speed on signals in the knee area, which is desirable for natural sounding compression because it compliments the reduced ratio effect of the soft knee.
302 Appendix A: Application Notes brightness and sparkle to the programme, producing extremely natural and lively sounding compression of acoustic instruments. Shimmer mode (overshoot peak - slow) - output only This is a peak sensing compressor with an exponential release and unusual second order attack character that tends to overshoot. If used sparingly, the compressor sounds very soft and natural and can provide additional control of material that already has a fairly low dynamic content.
PRO1 output channel EQ modes 303 Classic treble The classic treble response provides a much steeper gradient between EQ’d and non-EQ’d frequency areas, as made famous by previous Midas consoles like the XL4. This provides better differentiation and minimal phase shift, but there is some undershoot error, that is, when boosting the treble, the mids are slightly cut and vice versa. This is the best all round EQ and especially effective when microphones are covering multiple sources.
304 Appendix A: Application Notes Band 2 can be switched from parametric to high pass filter 24dB. Note: When the 24dB/octave high pass filter is selected in band 2, band 1 becomes inaccessible. Band 6 can be switched from parametric to any of three shelving modes: soft; lo pass filter 6dB; and lo pass filter 12dB. Description Soft (treble) The soft treble response provides a very gentle gradient between EQ’d and non-EQ’d frequency areas.
305 Appendix B: Functional Block Diagrams This chapter contains the PRO1 signal path diagrams.
306 Appendix B: Functional Block Diagrams Mono input channel signal flow PRO1 Live Audio System Operator Manual
Returns signal flow Returns signal flow PRO1 Live Audio System Operator Manual 307
308 Appendix B: Functional Block Diagrams Aux/group signal flow PRO1 Live Audio System Operator Manual
Master signal flow Master signal flow PRO1 Live Audio System Operator Manual 309
310 Appendix B: Functional Block Diagrams Mono mix signal PRO1 Live Audio System Operator Manual
Monitor signal flow Monitor signal flow PRO1 Live Audio System Operator Manual 311
312 Appendix B: Functional Block Diagrams Comms signal flow PRO1 Live Audio System Operator Manual
Dynamics signal flow Dynamics signal flow PRO1 Live Audio System Operator Manual 313
314 Appendix B: Functional Block Diagrams PRO1 Live Audio System Operator Manual
315 Appendix C: Technical Specification This appendix provides the full technical specification for the PRO1 Live Audio System, which includes the DL251 Audio System I/O. © 2013 MUSIC Group IP Ltd. Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed. MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com).
316 Appendix C: Technical Specification Assignable audio processing 4 x assignable stereo effects (each of these can be reconfigured to generate 4 further GEQs, making a total of 24 available on the console) Mixing control assistance 6 x auto-mutes 6 x surface POPulation groups 8 x VCA faders 8 x VCA groups 1000-scene snapshot automation Resilience N+1 cable redundancy PRO1 general specifications Sampling frequency 96kHz Latency delay <2ms input to master (no compensation) Dynamic range 106dB,
317 PRO1 audio performance specifications PRO1 audio performance specifications Frequency response Input Output Gain 20Hz 20kHz DL251 I/O box DL251 I/O box 0dB 0dB to -1.0dB 0dB to -1.0dB DL251 I/O box DL251 I/O box 40dB 0dB to -1.0dB 0dB to -1.0dB Surface I/O Surface I/O 0dB 0dB to -1.0dB 0dB to -1.0dB Surface I/O Surface I/O 40dB 0dB to -1.0dB 0dB to -1.0dB DL451 I/O box DL451 I/O box 0dB 0dB to -1.0dB 0dB to -1.0dB DL451 I/O box DL451 I/O box 40dB 0dB to -1.
318 Appendix C: Technical Specification Input CMRR Input Output Gain 100Hz 1kHz DL251 I/O box DL251 I/O box 0dB 60dB 60dB DL251 I/O box DL251 I/O box 40dB 90dB 90dB Surface I/O Surface I/O 0dB 60dB 60dB Surface I/O Surface I/O 40dB 90dB 90dB DL451 I/O box DL451 I/O box 0dB 80dB 80dB DL451 I/O box DL451 I/O box 40dB 90dB 90dB DL431 splitter DL451 I/O box 0dB 80dB 80dB DL431 splitter DL451 I/O box 40dB 90dB 90dB DL431 splitter DL431 A out 0dB 80dB 80dB DL431
319 PRO1 audio performance specifications Distortion at +20dBu Input Output Gain 1kHz 10kHz DL251 I/O box DL251 I/O box 0dB 0.03% 0.03% DL251 I/O box DL251 I/O box 40dB 0.03% 0.03% Surface I/O Surface I/O 0dB 0.03% 0.03% Surface I/O Surface I/O 40dB 0.03% 0.03% DL451 I/O box DL451 I/O box 0dB 0.03% 0.03% DL451 I/O box DL451 I/O box 40dB 0.03% 0.03% DL431 splitter DL431 A out 0dB 0.03% 0.03% DL431 splitter DL431 A out 40dB 0.03% 0.
320 Appendix C: Technical Specification Signal path noise 22Hz to 22kHz unweighted Inputs 150R terminated.
321 PRO1 system inputs and outputs PRO1 system inputs and outputs DL251 I/O box - analogue inputs Connector 3-pin XLR balanced A/D converter 24-bit, 96kHz and 128 times oversampling DL251 I/O box - analogue outputs Connector 3-pin XLR balanced D/A converter 24-bit, 96kHz and 128 times oversampling DL251 I/O box - MIDI MIDI In, Out and Thru on 5-pin DIN DL251 I/O box - digital system inputs and outputs System connector 2 x AES50 (24 channels of bi-directional digital audio) on EtherCon® XLR N+1
322 Appendix C: Technical Specification PRO1 control surface - analogue audio system inputs Connector 3-pin XLR balanced A/D converter 24-bit, 96kHz and 128 times oversampling Talkback connector 3-pin XLR balanced line Talk connector 3-pin XLR balanced mic with 48V phantom voltage PRO1 control surface - analogue audio system outputs Connector 3-pin XLR balanced D/A converter 24-bit, 96kHz and 128 times oversampling Monitor connector 3-pin XLR balanced line Talk connector 3-pin XLR balanced
323 Inputs and output characteristics Inputs and output characteristics Analogue input characteristics Input Type Load Z Gain Maximum Level Connector DL251 I/O box 10k -22.5dB to +65dB +24dBu XLR Surface I/O 10k -22.5dB to +65dB +24dBu XLR DL451 I/O box 10k -25dB to +60dB +26dBu XLR DL431 splitter 5k -22.
324 Appendix C: Technical Specification Miscellaneous digital characteristics Type I/O Description Notes Connector Word clock IN Accepts TTL level, 96kHz square wave; impedance 75 ohms BNC Word clock OUT Provides TTL level, 96kHz square wave BNC AES sync IN Accepts a 96kHz digital audio signal conforming to AES3-2003 XLR AES sync OUT Provides a 96kHz grade II reference signal conforming to AES3-2003 XLR Main processing functions Main input channel functions Input channel hi pass 10Hz
Main processing functions Input channel compressor 325 Peak, Linear, RMS, Vintage modes Threshold -50dBu to +25dBu Attack 200µs to 20ms Release 50ms to 3 sec Ratio 25:1 to 1:1 Knee 4dB, 12dB or 40dB Gain 0dB to +24dB Side chain source selectable + filter Frequency 50Hz to 15kHz swept Bandwidth 1/3, 1 or 2 Oct Input channel gate Peak mode Threshold -50dBu to +25dBu Attack 20µs to 20ms Hold 5ms to 2 sec Release 2ms to 2 sec Range 100dB to 0dB Side chain source selectable + filter Frequency 50Hz to 15kHz
326 Appendix C: Technical Specification Output channel functions Output channel band 6 Parametric Operation Frequency 16Hz to 25kHz swept Gain +16dB to –16dB BW 0.1 Oct to 3 Oct Lo Pass Operation Frequency 16Hz to 25kHz swept Slope 6dB/Oct or 12dB/Oct Shelf Operation Frequency 16Hz to 25kHz swept Gain +16dB to –16dB Mode soft curve Output channel bands 3, 4 and 5 Parametric Operation Frequency 16Hz to 25kHz swept Gain +16dB to –16dB BW 0.
Main processing functions Effects channel functions Stereo effects channel 6 available configurable as Stereo or mono in, stereo out (8 in, 8 out for dynamic) Modulated delay effects Complex delay, reverbs Effects channel GEQ 16 available in place of effects (above) 31 Bands, 1/3 Oct, Proportional Q Lo Pass Frequency 2kHz to 20kHz swept Slope 6dB/Oct or 12dB/Oct Hi Pass Frequency 20Hz to 500Hz swept Slope 6dB/Oct or 12dB/Oct PRO1 Live Audio System Operator Manual 327
328 Appendix C: Technical Specification PRO1 Live Audio System Operator Manual
329 Appendix D: Troubleshooting This appendix gives details of troubleshooting the PRO1 Live Audio System. No audio If you have set up the PRO1 and followed all of the instructions for obtaining audio, but you are not hearing anything through the speakers, check the following: • Make sure the appropriate ST buttons in the channel fast strips are on. • Make sure the appropriate ST buttons in the source a/b panels (monitors section of the output bay) are on. • Make sure nothing is muted.
330 Appendix D: Troubleshooting 1 2 3 4 5 An example of the Diagnostics screen Item Element Description 1 Console column This column contains boxes that represent the internal processes of the PRO1 Control Centre, such as the control surface, master controller, DSP, Audio IO and GUI. If any of these develop an error condition the colour of the boxes will change to red.
331 Diagnostics Item Element Description 4 Unconfirmed column This column shows any AES50 devices, such as a IDL251 Audio System I/O, that have been detected as connected to the system, but have not been configured during the patching procedure. Clicking one of these devices will open a Diagnostics Inspector window (see “About the Diagnostics Inspector window” below). To configure a device, see “Setting up the I/O rack devices” on page 39.
332 Appendix D: Troubleshooting The ‘ignore’ buttons of the Diagnostics Inspector window let you configure the PRO Series to ignore errors on selected/all items. This is an important feature because there may be times when you are quite happy to work with a known error(s), but will want to know when a new error occurs. Note: Diagnostic Inspector windows are primarily for use by Midas service and software engineers.
333 Troubleshooting automation in some cases, also provides information that may be useful to service engineers. The following diagram shows a typical error message. Error condition (see “Error condition messages” on page 333) Error description (see “Error description messages” on page 335) >> To proceed after an error message appears 1 Heed the error message. 2 Click OK. 3 Take the appropriate action for that particular error.
334 Appendix D: Troubleshooting System Type Error Message Fault Condition Automation Failed to create a new show Attempting to create a new show. Automation Failed to delete point scene Attempting to delete a point scene. Automation Failed to expand point scene range Attempting to expand point scene range, that is, by inserting an extra 10 point scenes, for example, expanding scene 10.00 will add point scenes 10.10, 10.20 etc., up to 10.90.
335 Troubleshooting automation Error description messages The following table contains the possible error description messages for both the file and automation systems, which will start on the second line of the error message. The “Error Message” column in the table contains the error message text that immediately follows the “response:” text. For ease of reference the table lists the error messages in alphabetical order.
336 Appendix D: Troubleshooting Error Message System(s) Problem Solution bad device ID File and Automation The device identifier has not been recognised. If you are exporting a file to a USB memory stick, check that it has not been disconnected from the control surface. bad directory File and Automation The file system path does not terminate in a directory. This is highly unlikely to occur in practice, but is an indication of a serious error. Contact Midas Technical Support.
337 Troubleshooting automation Error Message System(s) Problem Solution empty point scene index File and Automation An attempt was made to navigate an empty point scene index. Try again. If unsuccessful, and if the file is a show file, try a backup file, if one is available. event is already active Automation Critical internal error. This is an indication of a serious error. Contact Midas Technical Support.
338 Error Message Appendix D: Troubleshooting System(s) Problem Solution missing file File and Automation The required file cannot be found. Try again. missing navigation state Automation Critical internal error. This is an indication of a serious error. Contact Midas Technical Support. mtools lookup File and Automation Critical internal error. This is an indication of a serious error. Contact Midas Technical Support.
339 Troubleshooting automation Error Message System(s) Problem Solution point scene index integrity error File and Automation The show file being modified is damaged. This is an indication of a serious error. Contact Midas Technical Support. point scene insert error File and Automation Failed to insert a point scene. This is highly unlikely to occur in practice, but is an indication of a serious error. Contact Midas Technical Support.
340 Appendix D: Troubleshooting Error Message System(s) Problem Solution specified file was not found File and Automation The file could not be found on the specified device, that is, the internal compact flash of the PRO1 or USB memory stick (if connected). • If the device is the internal compact flash of the PRO1, this could be an indication of a serious problem. Contact Midas Technical Support.
341 Appendix E: Updating The PRO1 Host Software This appendix shows you how to update the host software of the PRO1 and also its associated networked devices. About the PRO1 updater The PRO1 has an update facility that provides an easy and straightforward method of updating your system. It lets you install the latest version of host software on the PRO1 Control Centre and also any networked DLnnn or Klark Teknik DN9331 Rapide Graphic Controller units.
342 Appendix E: Updating The PRO1 Host Software About the updater screen During installation the updater screen will appear. This screen lets you select the system devices you want to upgrade, start the update procedure and also shows you how the procedure is progressing. 1 2 3 4 7 5 6 Figure 29: A typical updater display Item Description Function 1 Updater menu See “Updater menu” on page 343.
About the updater screen 343 Updater menu The following table gives a description of the updater menu commands. Command Function Quit Exits the updater. After a power cycle, the control centre returns to the operating condition it was in when the updater command was selected from the GUI menu. Select All Selects all Midas devices connected (and detected) in the PRO1 Live Audio System. Remove All Deselects all Midas devices connected (and detected) in the PRO1 Live Audio System.
344 Appendix E: Updating The PRO1 Host Software Using the PRO1 updater This section shows you how to update your PRO1 Live Audio System. However, before you begin there are a few things you will need and some things you must do.
Using the PRO1 updater 345 >> To update the PRO1 1 Mute the PA at the amplifier/speaker. 2 Plug the USB memory stick containing the .tar file into the USB key socket on the control surface of the PRO1 (see “Control surface” on page 246). The “Run upgrade utility?” window will open automatically. If there is more than one upgrade file on the USB memory stick, you will be instructed on how to select the desired one from the menu. Otherwise, a single upgrade file will be loaded automatically.
346 Appendix E: Updating The PRO1 Host Software 6 Click Update Now. A warning window will open (see below). 7 Click Upgrade now. A window will open asking if you would like to back up your shows. 8 Click No Thank You to start the upgrade. (If, at this point, you want to back up your shows and preferences, click Yes Please.) The device blocks will change colour according to their update status (see “Device blocks” on page 343). The green bar at the bottom will show the progress of the current action.
Using the PRO1 updater 10 347 Click Quit and reboot to exit the updater and automatically reboot the PRO1. (You can exit the updater later by clicking Quit later.) The GUI will display the screen shown right. Do not switch off the power until the console has fully rebooted. 11 When the PRO1 has fully rebooted, power cycle the system (including all I/O boxes) to restart using the new software. Do this by powering the system down and then powering it up again (see “Powering the PRO1 system” on page 30).
348 Appendix E: Updating The PRO1 Host Software PRO1 Live Audio System Operator Manual
349 Appendix F: Parameters Affected By Scope This appendix shows the parameters that are affected by scope. Note: The parameter areas for the scopes (store and recall) and the safes are basically the same. However, the way they are presented in their respective appendices is different. This may provide you with a useful alternative when referring to this material, should you prefer one more than the other (see Appendix H "Parameters Protected By Safes" on page 397).
350 Appendix F: Parameters Affected By Scope In the parameter tables throughout this appendix, Yes = scoped, No = not scoped and N/A = not applicable. Variable Control Associations (VCAs) Assignable Effects Graphic EQs Masters Matrix (Matrices) Aux Sends (Auxes) Aux Returns (Returns) Control area Input Channels The following table is intended as a reference guide to help you go quickly to the area you want.
351 Inputs Inputs Each scope screen has 40 input channels in the Input Channels section. Routing (A) All (B) Mic Amp (C) EQ (D) Dyn (E) Busses (F) 40 input channels Mute (G) Fader (H) Figure 30: Parameter sections per input channel Patching This section shows the scoped patching parameters of the input channels. A B C D E 1 F G H Item Parameter 1 Input patching source * A B C D E F G H Yes* Yes* No N/A N/A N/A N/A N/A Includes tape return and primary input sources.
352 Appendix F: Parameters Affected By Scope Configuration This section shows the scoped mic parameters of the input channels.
353 Inputs A B C D E F G H Item Parameter 14 Processing order N/A Yes N/A Yes N/A N/A N/A N/A 15 Direct output solo B assignment N/A No No No No No No No * Depends on swap status. ** Only when sourced from a DL431 Mic Splitter.
354 Appendix F: Parameters Affected By Scope Dynamics A B C D E F This section shows the scoped compressor and gate parameters of the input channels. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
355 Inputs A B C D E F G H Item Parameter 1 Compressor: attack, release, threshold, ratio, gain (make up), knee, mode and compressor on/off N/A Yes N/A N/A Yes N/A N/A N/A 2 Compressor sidechain source No N/A N/A N/A N/A N/A N/A N/A 3 Compressor sidechain: compressor sidechain in/out, frequency and width N/A Yes N/A N/A Yes N/A N/A N/A 4 Gate key in source No N/A N/A N/A N/A N/A N/A N/A 5 Gate: attack, release, hold, threshold, range and gate on/off N/A
356 Appendix F: Parameters Affected By Scope Insert This section shows the scoped insert parameters of the input channels.
357 Inputs EQ This section shows the scoped parametric EQ parameters of the input channels.
358 Appendix F: Parameters Affected By Scope Aux send A This section shows the scoped aux send parameters of the input channels. Although it only shows aux buses 1 to 8, it also applies to aux buses 9 to 16.
359 Inputs Matrix send This section shows the scoped matrix send parameters of the input channels. A B C 4 1/2 3 4 D E F 1 3 G H A B C E D F G H Item Parameter 1 Send level N/A Yes N/A N/A N/A Yes N/A N/A 2 Send pan N/A Yes N/A N/A N/A Yes N/A N/A 3 Send pre-fader on/off N/A Yes N/A N/A N/A Yes N/A N/A 4 Send on/off N/A Yes N/A N/A N/A Yes N/A N/A You can scope individual bus sends.
360 Appendix F: Parameters Affected By Scope Fader A This section shows the scoped fader and master routing parameters of the input channels.
361 Inputs A B C D E F G H Item Parameter 9 Channel name N/A Yes N/A N/A N/A N/A N/A No 10 Channel colour N/A Yes N/A N/A N/A N/A N/A No PRO1 Live Audio System Operator Manual
362 Appendix F: Parameters Affected By Scope Returns (Aux Returns) Each scope screen has eight returns in the Aux Returns section. Routing (A) All (B) Mic Amp (C) EQ (D) Busses (F) Mute (G) Fader (H) Patching This section shows the scoped patching parameters of the return channels. A B C 1 D F G H Item Parameter 1 Input patching source * A B C D F G H N/A Yes* N/A N/A N/A N/A N/A Includes tape return and primary input sources.
363 Returns (Aux Returns) Configuration This section shows the scoped areas of the mic section in the return channels.
364 Appendix F: Parameters Affected By Scope Dynamics Not applicable. Insert Not applicable. EQ This section shows the scoped parametric EQ parameters of the input channels.
365 Returns (Aux Returns) Aux send This section shows the scoped aux send parameters of the return channels.
366 Appendix F: Parameters Affected By Scope Matrix send This section shows the scoped matrix send parameters in the return channels.
367 Returns (Aux Returns) Fader A This section shows the scoped fader and master routing parameters of the return channels.
368 Appendix F: Parameters Affected By Scope Auxes (Aux Sends) Each scope screen has 16 auxes in the Aux Sends section. All (B) EQ (D) Dyn (E) Busses (F) Mute (G) Fader (H) Patching This section shows the scoped patching parameters of the aux channels.
369 Auxes (Aux Sends) Configuration B D E This section shows the scoped configuration and direct input parameters of the aux channels.
370 Appendix F: Parameters Affected By Scope Dynamics B D E This section shows the scoped compressor parameters of the aux channels. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
371 Auxes (Aux Sends) Insert This section shows the scoped insert parameters of the aux channels.
372 Appendix F: Parameters Affected By Scope EQ This section shows the scoped parameters in the EQ section of the aux channels. B D E F G H 2 3 1 3 1 B D E F G H Item Parameter 1 All PEQ filters (all six bands): frequency, gain, width and shape (bands 1, 2 and 6 only) Yes Yes N/A N/A N/A N/A 2 Parametric/Graphic type No No N/A N/A N/A N/A 3 EQ in/out Yes Yes N/A N/A N/A N/A Aux send Not applicable.
373 Auxes (Aux Sends) Matrix send This section shows the scoped matrix send parameters of the aux channels. B D E 3 1 F 2 G 3 H 1 2 B D E F G H Item Parameter 1 Send level Yes N/A N/A Yes N/A N/A 2 Send pre-fader on/off Yes N/A N/A Yes N/A N/A 3 Send on/off Yes N/A N/A Yes N/A N/A You can scope individual bus sends. In column B (All), all sends are affected, and in column F (Busses), individual sends can be scoped.
374 Appendix F: Parameters Affected By Scope Fader B D E This section shows the scoped fader and master routing parameters of the aux channels.
375 Matrices Matrices Each scope screen has eight matrices in the Matrix section. All (B) EQ (D) Dyn (E) Mute (G) Fader (H) Patching This section shows the scoped patching parameters of the matrix channels.
376 Appendix F: Parameters Affected By Scope Configuration B This section shows the scoped configuration and direct input parameters of the matrix channels.
377 Matrices Dynamics B D E G This section shows the scoped compressor parameters of the matrix channels. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
378 Appendix F: Parameters Affected By Scope Insert This section shows the scoped insert parameters of the matrix channels.
379 Matrices EQ This section shows the scoped EQ parameters of the matrix channels. B D E G H 2 3 1 3 1 B D E G H Item Parameter 1 All PEQ filters (all six bands): frequency, gain, width, shape (bands 1, 2 and 6 only) Yes Yes N/A N/A N/A 2 Parametric/graphic type No No N/A N/A N/A 3 EQ in/out Yes Yes N/A N/A N/A Aux send Not applicable. Matrix send Not applicable.
380 Appendix F: Parameters Affected By Scope Fader This section shows the scoped fader parameters of the matrix channels.
381 Masters Masters Each scope screen has three master channels (stereo left and right, and mono) in the Masters section. All (B) EQ (D) Dyn (E) Busses (F) Mute (G) Fader (H) Patching This section shows the scoped patching parameters of the master channels.
382 Appendix F: Parameters Affected By Scope Configuration B This section shows the scoped configuration and direct input section parameters of the master channels.
383 Masters Dynamics B D E This section shows the scoped compressor parameters of the master channels. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
384 Appendix F: Parameters Affected By Scope Insert This section shows the scoped insert parameters of the master channels.
385 Masters EQ This section shows the scoped EQ parameters of the master channels.
386 Appendix F: Parameters Affected By Scope Matrix send This section shows the scoped matrix send parameters of the master channels. B D E 3 1 F 2 G 3 1 2 H B D E F G H Item Parameter 1 Send level Yes N/A N/A Yes N/A N/A 2 Send pre-fader on/off Yes N/A N/A Yes N/A N/A 3 Send on/off Yes N/A N/A Yes N/A N/A You can scope individual bus sends. In column B (All), all sends are affected, and in column F (Busses), individual sends can be scoped.
387 Masters Fader This section shows the scoped fader parameters of master channels.
388 Appendix F: Parameters Affected By Scope GEQ rack Each scope screen has a user-configurable rack of up to 28 GEQs in the Graphic EQs section. Note: A rack slot in the Graphic EQs section is equivalent to the All scope area. Patching This section shows the scoped patching parameters of the GEQs, which are shown on the Graphic GEQs screen (below).
389 GEQ rack GEQ This section shows the scoped parameters of the GEQs,.
390 Appendix F: Parameters Affected By Scope Effects rack Each scope screen has a user-configurable rack of up to six effects in the Assignable Effects section. Note: A rack slot in the Assignable Effects section is equivalent to the All area. scope Patching The diagram right shows the scoped patching parameters of the effects, which are on the Effects tab of the To section of the Patching screen.
391 Effects rack Effects This section shows the scoped parameters of the effects.
392 Appendix F: Parameters Affected By Scope Groups Each scope screen contains eight VCA channels in the VCAs section. All (B) Mute (G) Fader (H) B The following diagram shows the scoped parameters of the VCA group channels, and shows the VCA Groups screen on the GUI.
393 Appendix G: Parameters Affected By Automate Patching This appendix shows the patching parameters (sources) that can be changed on a per-scene basis in automation. These are only selectable when the Automate Patching option of the Preferences scene is selected (see “Using patching in automation” on page 187). Inputs The following input channel sources can be changed per scene.
394 Appendix G: Parameters Affected By Automate Patching Auxes The sources for each aux channel can be changed per scene. Item Parameter 1 Insert return source 2 Direct in source 3 Compressor side chain source 2 3 1 Compressor processing area Configuration processing area Matrices The sources for each matrix channel can be changed per scene.
395 Masters Masters The sources for each master channel can be changed per scene. Item Parameter 1 Insert return source 2 Direct in source 3 Compressor side chain source 2 3 1 Configuration processing area Effects Effect input sources can be changed per scene via the Effects tab of the To section of the Patching screen (shown right).
396 Appendix G: Parameters Affected By Automate Patching System devices Sources for the outputs of external devices, such as the DL451 Modular I/O and DN9696 Recorder, etc., can be changed per scene. The sources are selectable via the Stage I/O and FOH I/O tabs in To section of the Patching screen (see Chapter 8 "Patching" on page 45). However, this does not include the I/O card configuration. Monitors The following monitor sources can be changed per scene.
397 Appendix H: Parameters Protected By Safes This appendix shows the parameters affected/unaffected by each of the safe types (EQ, DYN, MIC, AUTO, MUTE and FADER). Note: The parameter areas for the scopes (store and recall) and the safes are, basically the same. However, the way they are presented in their respective appendices is different.
398 Appendix H: Parameters Protected By Safes Inputs The input safes are selected via the input channel safes section of the channel processing area of the configuration processing area of the GUI channel strip.
399 Inputs Input parameters not affected by the safes The following input channel parameters are not affected by any of the safes.
400 Appendix H: Parameters Protected By Safes EQ safe This section shows the input parameters protected by the EQ safe.
401 Inputs Item Control(s) Parameter 6 SHAPE switch Selects bass shelving mode: parametric, deep, classic or warm 7 SLOPE switch, high pass control knob, [IN] switch High pass filter / 8 SLOPE switch, low pass control knob, /[IN] switch Low pass filter 9 C/O switch Order of processing: Dyn.Ins.EQ or EQIns.Dyn.
402 Appendix H: Parameters Protected By Safes DYN (dynamic) safe This section shows the input parameters protected by DYN safe. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative and vintage).
403 Inputs Item Control Parameter 7 MODE pushbutton Compressor mode: corrective (as shown), adaptive, creative or vintage 8 KNEE pushbutton Compressor knee: hard, medium or soft 9 IN switch Compressor sidechain in/out 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.
404 Appendix H: Parameters Protected By Safes MIC safe This section shows the input parameters protected by MIC safe.
405 Inputs * Item Control Parameter 6 Ø switch Input phase invert on/off 7 Level control knob Direct output level 8 MODE switch Direct output tap-off point: “Post-fade and mute”, “Pre-mute, pre-processing” or “Pre-mute, postprocessing” 9 dest button, text field Direct output tap-off point 10 INS switch Insert in/out Depends on swap status. ** Only when sourced from a DL431 Mic Splitter.
406 Appendix H: Parameters Protected By Safes MUTE safe This section shows the input parameters protected by the MUTE safe.
407 Inputs FADER safe This section shows the input parameters protected by the FADER safe.
408 Appendix H: Parameters Protected By Safes Auxes (Aux Sends) The aux safes are selected via the output channel safes section of the channel processing area and the configuration processing area of the GUI channel strip.
409 Auxes (Aux Sends) Aux parameters not affected by the safes The following shows you which aux parameters are not affected by each safe.
410 Appendix H: Parameters Protected By Safes EQ safe This section shows the aux parameters protected by the EQ safe.
411 Auxes (Aux Sends) 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Selects low pass filter as 6dB or 12dB 8 Q switch Selects Q mode as proportional (PROP.) or constant (CON.
412 Appendix H: Parameters Protected By Safes DYN (dynamic) safe This section shows the aux parameters protected by the DYN safe. Only the corrective compressor is shown, but this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
413 Auxes (Aux Sends) MIC safe This section shows the aux parameters protected by the MIC safe. 1 2 3 3 Item Control Parameter 1 Level control knob Direct input level 2 PRE switch Direct input pre- in/out 3 INS switch Insert in/out AUTO (automation) safe All of the aux channel parameters are protected by the AUTO (automation) safe — except, of course, for the ones unaffected by the safes (see “Aux parameters not affected by the safes” on page 409).
414 Appendix H: Parameters Protected By Safes MUTE safe This section shows the aux parameters protected by the MUTE safe.
415 Auxes (Aux Sends) FADER safe This section shows the aux parameters protected by the FADER safe.
416 Appendix H: Parameters Protected By Safes Returns (Aux Returns) The return safes are selected via the input channel safes section of the channel processing area and the configuration processing area of the GUI channel strip.
417 Returns (Aux Returns) Return parameters not affected by the safes The following shows you which return parameters are not affected by each safe.
418 Appendix H: Parameters Protected By Safes EQ safe Not applicable. DYN (dynamic) safe Not applicable. MIC safe This section shows the return parameters protected by the MIC safe, which are accessible via the DL431 Mic Splitter configuration (see “Configuring the devices” on page 58).
419 Returns (Aux Returns) MUTE safe This section shows the return parameters protected by the MUTE safe.
420 Appendix H: Parameters Protected By Safes FADER safe This section shows the return parameters protected by the FADER safe.
421 Matrices Matrices The matrix safes are selected via the output channel safes section of the channel processing area and the configuration processing area of the GUI channel strip.
422 Appendix H: Parameters Protected By Safes Matrix parameters not affected by the safes The following shows you which matrix parameters are not affected by each safe.
423 Matrices EQ safe This section shows the matrix parameters protected by the EQ safe.
424 Appendix H: Parameters Protected By Safes 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Selects low pass filter as 6dB or 12dB 8 Q switch Selects Q mode as proportional (PROP.) or constant (CON.
425 Matrices DYN (dynamic) safe This section shows the matrix parameters protected by the DYN safe. Only the corrective compressor is shown, but this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
426 Appendix H: Parameters Protected By Safes MIC safe This section shows the matrix parameters protected by MIC safe.
427 Matrices AUTO (automation) safe All of the matrix channel parameters are protected by AUTO (automation) safe — except, of course, for the ones unaffected by the safes (see “Matrix parameters not affected by the safes” on page 422). MUTE safe This section shows the matrix parameters protected by the MUTE safe.
428 Appendix H: Parameters Protected By Safes FADER safe This section shows the matrix parameters protected by the FADER safe.
429 Masters Masters The master safes are selected via the output channel safes section of the channel processing area and the configuration processing area of the GUI channel strip.
430 Appendix H: Parameters Protected By Safes Master parameters not affected by the safes The following shows you which parameters are not affected by each safe.
431 Masters EQ safe This section shows the master parameters protected by the EQ safe.
432 Appendix H: Parameters Protected By Safes 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Selects low pass filter as 6dB or 12dB 8 Q switch Selects Q mode as proportional (PROP.) or constant (CON.
433 Masters DYN (dynamic) safe This section shows the master parameters protected by the DYN safe. Only the corrective compressor is shown, but this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
434 Appendix H: Parameters Protected By Safes MIC safe This section shows the master parameters protected by MIC safe. 1 2 3 3 Item Control Parameter 1 Level control knob Direct input level 2 PRE switch Direct input pre- in/out 3 INS switch Insert in/out AUTO (automation) safe All of the master channel parameters are protected by AUTO (automation) safe — except, of course, for the ones unaffected by the safes (see “Master parameters not affected by the safes” on page 430).
435 Masters MUTE safe This section shows the master parameters protected by MUTE safe.
436 Appendix H: Parameters Protected By Safes FADER safe This section shows the master parameters protected by the FADER safe.
437 Groups Groups The group safes — mute and fader — are selected via the VCA Groups screen of the GUI (shown below). EQ safe Not applicable. Dynamic safe Not applicable. Mic safe Not applicable.
438 Appendix H: Parameters Protected By Safes Automation safe This section shows the VCA group parameters protected by the AUT (auto) safe.
439 Groups Mute (MTE) safe This section shows VCA group parameters protected by the MTE (mute) safe. 1 1 Item Control Parameter 1 MUTE switch Mute on/off Fader (FDR) safe This section shows the VCA group parameters protected by the FDR (fader) safe.
440 Appendix H: Parameters Protected By Safes PRO1 Live Audio System Operator Manual
441 Appendix I: Parameters Affected By Copy And Paste This appendix shows the channel parameters affected by copy and paste operations, which are selected via the copy and paste buttons on the GUI (see “Using copy and paste” on page 84). The following table provides a quick reference for finding the copy and paste parameters per control area for channel in this appendix. The following table is intended as a reference guide to help you go quickly to the area you want.
442 Appendix I: Parameters Affected By Copy And Paste Inputs This section shows you which input channel parameters are affected by copy and paste. Configuration This section shows the parameters of the configuration processing area affected by copy and paste.
443 Inputs Compressor This section shows the parameters of the compressor processing area affected by copy and paste. 7 1 2 3 5 2 6 8 9 4 10 11 7 3 1 5 2 6 4 8 9 10 11 Note: Only the corrective compressor is shown above, but this is typically the same for the other compressor modes (adaptive, creative and vintage).
444 Appendix I: Parameters Affected By Copy And Paste Item Control Parameter 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3 Oct Gate This section shows the parameters of the gate processing area affected by copy and paste.
445 Inputs EQ This section shows the parameters of the EQ processing area affected by copy and paste.
446 Appendix I: Parameters Affected By Copy And Paste Item Control Parameter 8 low pass control knob Low pass filter frequency 9 /[IN] switch High pass filter in/out 10 /[IN] switch Low pass filter in/out 11 C/O switch To swap the order of processing Bus sends This section shows the parameters of the mix sends processing area affected by copy and paste.
447 Inputs Master routing This section shows the parameters of the master routing processing area affected by copy and paste.
448 Appendix I: Parameters Affected By Copy And Paste Aux This section shows you which aux channel parameters are affected by copy and paste. Configuration This section shows the parameters of the configuration processing area affected by copy and paste.
449 Aux Compressor This section shows the parameters of the compressor processing area affected by copy and paste. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
450 Appendix I: Parameters Affected By Copy And Paste Gate Not applicable. EQ (GEQ) This section shows the parameters of the EQ processing area, including the GEQ, affected by copy and paste.
451 Aux 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Low pass filter: 6dB or 12dB 8 Q switch Q mode as proportional (PROP.) or constant (CON.
452 Appendix I: Parameters Affected By Copy And Paste Bus sends This section shows the parameters of the mix sends processing area affected by copy and paste.
453 Aux Master routing This section shows the parameters of the master routing processing area affected by copy and paste.
454 Appendix I: Parameters Affected By Copy And Paste Return This section shows you which return channel parameters are affected by copy and paste. Configuration This section shows the parameters of the configuration processing area affected by copy and paste. Channel of the DL451 Modular I/O analogue input card DL431 Mic Splitter input card 1 1 2 1 Item Control Parameter 1 Stage box control knob Gain of remote amplifier 2 LINK OPT. button Stereo linking options Compressor Not applicable.
455 Return Bus sends This section shows the parameters of the mix sends processing area affected by copy and paste.
456 Appendix I: Parameters Affected By Copy And Paste Master routing This section shows the parameters of the master routing processing area affected by copy and paste.
457 Matrix Matrix This section shows you which matrix channel parameters are affected by copy and paste. Configuration This section shows the parameters of the configuration processing area affected by copy and paste. 6 1 2 3 4 5 6 Item Control Parameter 1 bus trim control knob Bus trim level 2 Level control knob Direct input level 3 B switch Direct input solo B on/off 4 PRE switch Direct input pre- in/out 5 delay control knob Delay time 6 C/O switch Order of processing: Dyn.Ins.
458 Appendix I: Parameters Affected By Copy And Paste Compressor This section shows the parameters of the compressor processing area affected by copy and paste. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
459 Matrix Item Control Parameter 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Gate Not applicable. EQ (GEQ) This section shows the parameters of the EQ processing area (including the GEQ) affected by copy and paste.
460 Appendix I: Parameters Affected By Copy And Paste Note: Although bands 5 and 6 are not shown above, the items in the table also apply. Both bands have items 2, 3 and 4, and band 6 also has item 5.
461 Matrix Fader section This section shows the parameters of the master routing processing area affected by copy and paste.
462 Appendix I: Parameters Affected By Copy And Paste Master This section shows you which master channel parameters are affected by copy and paste. Configuration This section shows the parameters of the configuration processing area affected by copy and paste.
463 Master Compressor This section shows the parameters of the compressor processing area affected by copy and paste. Only corrective compressor shown below, but typically the same for the other compressor modes.
464 Appendix I: Parameters Affected By Copy And Paste Gate Not applicable. EQ (GEQ) This section shows the parameters of the EQ detail are (including the GEQ) affected by copy and paste.
465 Master 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Low pass filter: 6dB or 12dB 8 Q switch Q mode as proportional (PROP.) or constant (CON.
466 Appendix I: Parameters Affected By Copy And Paste Master routing This section shows the parameters of the master routing processing area affected by copy and paste.
467 Appendix J: Parameters Affected By Stereo Linking This appendix shows which parameters per control area are shared by a pair of stereo linked channels. The control areas can be switched on/off globally for each channel type or per channel pair (see “Changing the linking options” on page 93). The following table is intended as a reference guide to help you go quickly to the area you want.
468 Appendix J: Parameters Affected By Stereo Linking Input Channels This section shows the linked parameters of the input channels. Input controls This section shows the input control parameters that are linked across a channel pair. 2 2 1 2 1 4 1 3 4 * Item Control Parameter 1 gain/[gain trim] control knob Digital trim level 2 48V switch* 48V phantom voltage on/off 3 Filter switch (not shown on GUI diagram above) 30Hz filter in/out 4 C/O switch* Order of processing: Dyn.Ins.
469 Input Channels Direct output This section shows the direct output control parameters that are linked across a channel pair. 1 2 3 Item Control Parameter 1 Level control knob Direct output level 2 B control knob Direct output solo B in/out 3 MODE pushbutton Direct output tap-off point: “Post-fade and mute”, “Pre-mute, pre-processing” or “Pre-mute, postprocessing” Direct input Not applicable.
470 Appendix J: Parameters Affected By Stereo Linking Filters This section shows the filter control parameters that are linked across a channel pair.
471 Input Channels Dynamics This section shows the compressor and gate control parameters that are linked across a channel pair. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative and vintage).
472 Appendix J: Parameters Affected By Stereo Linking Item Control Parameter 9 IN switch Compressor sidechain in/out 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.
473 Input Channels Insert This section shows the insert control parameters that are linked across a channel pair.
474 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the EQ control parameters that are linked across a channel pair.
475 Input Channels Bus sends This section shows the mix send control parameters that are linked across a channel pair. 1 2 3 1 4 3 As per bus sends 1-2 above 5 6 Note: Only aux sends 1 to 8 are shown above, but this is typically the same for all bus sends (eight matrices and 16 auxes). Item Control Parameter 1 ON switch Bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (When sending onto a stereo bus the send pan controls are not linked.
476 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the master routing control parameters that are linked across a channel pair.
477 Input Channels Fader This section shows the fader control parameters that are linked across a channel pair. 1 2 3 4 1 4 3 2 1 2 4 Item Control Parameter 1 mono level/SIS image control knob Mono send level. (Only linked when SIS is out on both channels and surround mode is not selected.
478 Appendix J: Parameters Affected By Stereo Linking Delay This section shows the delay control parameters that are linked across a channel pair.
479 Input Channels Mute This section shows the mute control parameters that are linked across a channel pair.
480 Appendix J: Parameters Affected By Stereo Linking Aux Returns This section shows the linked parameters of the return channels. Input controls This section shows the input control parameters that are linked across a channel pair.
481 Aux Returns Filters Not applicable. Dynamics Not applicable. Insert This section shows the insert control parameters that are linked across a channel pair.
482 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the parametric EQ control parameters that are linked across a channel pair.
483 Aux Returns Bus sends This section shows the mix send control parameters that are linked across a channel pair. 1 2 3 1 4 3 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends. Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (The pans are not linked, only the send levels are linked.
484 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the master routing control parameters that are linked across a channel pair.
485 Aux Returns Fader This section shows the fader control parameters that are linked across a channel pair. 1 1 3 4 1 2 2 2 Item Control Parameter 1 mono level/SIS image control knob Mono send level. (Only linked when SIS is out on both channels and surround mode is off.
486 Appendix J: Parameters Affected By Stereo Linking Delay This section shows the delay control parameters that are linked across a channel pair.
487 Aux Returns Mute This section shows the mute control parameters that are linked across a channel pair.
488 Appendix J: Parameters Affected By Stereo Linking Aux Sends This section shows the linked parameters of the aux channels. Input controls This section shows the input control parameters that are linked across a channel pair. 1 2 2 Item Control Parameter 1 bus trim control knob Bus trim level 2 C/O switch Order of processing: Dyn.Ins.EQ or EQIns.Dyn. Direct output Not applicable.
489 Aux Sends Direct input This section shows the direct input parameters that are linked across the aux channel pair. 1 2 3 Item Control Parameter 1 Level control knob Direct input level 2 B switch Direct input solo B on/off 3 PRE switch Direct input pre- in/out Filters Not applicable.
490 Appendix J: Parameters Affected By Stereo Linking Dynamics This section shows the compressor control parameters that are linked across a channel pair. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
491 Aux Sends Item Control Parameter 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Insert This section shows the insert control parameters that are linked across a channel pair.
492 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the EQ (and GEQ) control parameters that are linked across a channel pair.
493 Aux Sends Bus sends This section shows the mix send control parameters that are linked across a channel pair. 1 2 3 1 4 3 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends. Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (The pans are not linked, only the send levels are linked.
494 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the master routing control parameters that are linked across a channel pair.
495 Aux Sends Fader This section shows the fader control parameters that are linked across a channel pair. 3 2 4 1 3 4 2 1 3 4 1 Item Control Parameter 1 Fader Level 2 B switch Solo B on/off 3 mono level/SIS image control knob Mono send level. (Only linked when SIS is out on both channels and surround mode is not selected.
496 Appendix J: Parameters Affected By Stereo Linking Delay This section shows the delay control parameters that are linked across a channel pair.
497 Aux Sends Mute This section shows the mute control parameters that are linked across a channel pair.
498 Appendix J: Parameters Affected By Stereo Linking Matrix This section shows the linked parameters of the matrix channels. Input controls This section shows the input control parameters that are linked across a channel pair. 2 1 2 Item Control Parameter 1 bus trim control knob Bus trim level 2 C/O switch Order of processing: Dyn.Ins.EQ or EQIns.Dyn. Direct output Not applicable.
499 Matrix Direct input This section shows the direct input control parameters that are linked across a channel pair. 1 2 3 4 Item Control Parameter 1 Level control knob Direct input level 2 B switch Direct input solo B on/off 3 PRE switch Direct input pre- in/out 4 input zone switch Input zone in/out Filters Not applicable.
500 Appendix J: Parameters Affected By Stereo Linking Dynamics This section shows compressor control parameters that are linked across a channel pair. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
501 Matrix Insert This section shows the insert control parameters that are linked across a channel pair.
502 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the EQ (and GEQ) control parameters that are linked across a channel pair.
503 Matrix Bus sends Not applicable. Master routing Not applicable. Fader This section shows the fader control parameters that are linked across a channel pair.
504 Appendix J: Parameters Affected By Stereo Linking Delay This section shows the delay control parameters that are linked across a channel pair.
505 Matrix Mute This section shows the mute control parameters that are linked across a channel pair.
506 Appendix J: Parameters Affected By Stereo Linking Masters This section shows the linked parameters of the master channels. Input controls This section shows the input control parameters that are linked across a channel pair. 2 1 2 Item Control Parameter 1 bus trim control knob Bus trim level 2 C/O switch Order of processing: Dyn.Ins.EQ or EQIns.Dyn. Direct output Not applicable.
507 Masters Direct input This section shows the direct input control parameters that are linked across a channel pair. 1 2 3 4 Item Control Parameter 1 Level control knob Direct input level 2 B switch Direct input solo B on/off 3 PRE switch Direct input pre- in/out 3 input zone switch Input zone in/out Filters Not applicable.
508 Appendix J: Parameters Affected By Stereo Linking Dynamics This section shows the compressor control parameters that are linked across a channel pair. Only corrective compressor shown below, but typically the same for the other compressor modes.
509 Masters Item Control Parameter 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Insert This section shows the insert control parameters that are linked across a channel pair.
510 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the EQ (and GEQ) control parameters that are linked across a channel pair.
511 Masters Bus sends This section shows the mix send control parameters that are linked across a channel pair. 1 2 3 1 4 3 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends. Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (The pans are not linked, only the send levels are linked.
512 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the master routing control parameters that are linked across a channel pair. 1 1 Item Control Parameter 1 SIS switch Spatial imaging system on/off. (Only available if one of the surround modes is selected.
513 Masters Fader This section shows the fader control parameters that are linked across a channel pair.
514 Appendix J: Parameters Affected By Stereo Linking Delay This section shows the delay control parameters that are linked across a channel pair.
515 Masters Mute This section shows the mute control parameters that are linked across a channel pair.
516 Appendix J: Parameters Affected By Stereo Linking PRO1 Live Audio System Operator Manual
517 Appendix K: Parameters Copied Through Scenes This appendix shows the parameters per section — selected from the Sections panel in the Show Editor screen (shown below) — that can be copied through scenes.
518 Appendix K: Parameters Copied Through Scenes The following table is intended as a reference guide to help you go quickly to the channel control area you want. Inputs (Input Channels) Aux Returns (Returns) Aux Sends (Auxes) Matrix (Matrices) Masters Config sections Page 519 Page 527 Page 533 Page 539 Page 545 Comp.
519 Inputs (input channels) Inputs (input channels) This section shows you which input channel parameters are affected by copy through scenes. Config sections This section shows the configuration processing area parameters copied through scenes.
520 Appendix K: Parameters Copied Through Scenes Comp./Output Dyn This section shows the compressor processing area parameters copied through scenes. 7 1 2 3 5 2 6 4 8 9 10 11 7 3 1 5 2 12 6 4 8 9 10 11 Note: Only the corrective compressor is shown above, but this is typically the same for the other compressor modes (adaptive, creative and vintage).
521 Inputs (input channels) Item Control Parameter 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain: 2 Oct, 1 Oct or 0.3 Oct Gates This section shows the gate processing area parameters copied through scenes.
522 Appendix K: Parameters Copied Through Scenes EQs This section shows the EQ (parametric) processing area parameters copied through scenes.
523 Inputs (input channels) Item Control Parameter 7 SLOPE pushbutton Low pass filter slope 6dB or 12dB 8 low pass control knob Low pass filter frequency 9 /[IN] switch Low pass filter in/out 10 /[IN] switch High pass filter in/out 11 high pass control knob High pass filter frequency 12 SLOPE pushbutton High pass filter slope 12dB or 24dB Aux Sends (1 to 16) This section shows the aux send parameters copied through scenes.
524 Appendix K: Parameters Copied Through Scenes Matrix Sends (1 to 8) This section shows the matrix send parameters copied through scenes.
525 Inputs (input channels) Fader Sections This section shows the master routing processing area parameters that are copied through scenes.
526 Appendix K: Parameters Copied Through Scenes Routing This section shows the routing parameters copied through scenes. 1 1 2/3 4 Item Control Parameter 1 INS switch Insert in/out 2 Field Primary input source 3 Field Tape input source 4 Field Compressor sidechain source* 5 Field Gate key source* 6 Field Insert return source* * 5 6 1 Only automated when automate patching is on.
527 Aux Returns (return channels) Aux Returns (return channels) This section shows you which return channel parameters are affected by copy through scenes. Config sections This section shows the configuration processing area parameters copied through scenes.
528 Appendix K: Parameters Copied Through Scenes Gates Not applicable. EQs This section shows the EQ (parametric) processing area parameters copied through scenes.
529 Aux Returns (return channels) Aux Sends (1 to 16) This section shows the aux send parameters copied through scenes. 1 2 3 1 4 3 Note: Although only aux sends 1-2 are referenced above, this also applies to all 16 aux sends.
530 Appendix K: Parameters Copied Through Scenes Matrix Sends (1 to 8) This section shows the matrix send parameters copied through scenes. 1 2 3 1 4 3 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends.
531 Aux Returns (return channels) Fader Sections This section shows the fader and master routing parameters copied through scenes.
532 Appendix K: Parameters Copied Through Scenes Routing This section shows the routing parameters copied through scenes.
533 Aux Sends (aux channels) Aux Sends (aux channels) This section shows you which aux send parameters are affected by copy through scenes. Config sections This section shows the configuration parameters copied through scenes.
534 Appendix K: Parameters Copied Through Scenes Comp./Output Dyn This section shows the compressor parameters copied through scenes. Only corrective compressor shown below, but typically the same for the other compressor modes.
535 Aux Sends (aux channels) Gates Not applicable. EQs This section shows the EQ parameters copied through scenes. 8 4 3 1 3 4 3 4 5/6/7 4 3 1 2 4 2 6 2 5 8 2 2 3 Item Control Parameter 1 EQ switch EQ on/off 2 gain control knob EQ gain level 3 width control knob EQ width 4 freq control knob EQ frequency 5 SHAPE switch Band 1 shelving mode: parametric, warm, high pass 6dB or high pass 12dB. (This band is not available if band 2 is selected as high pass 24dB.
536 Appendix K: Parameters Copied Through Scenes Aux Sends (1 to 16) Not applicable. Matrix Sends (1 to 8) This section shows the matrix send parameters copied through scenes. 1 2 3 1 4 3 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends.
537 Aux Sends (aux channels) Fader Sections This section shows the fader and master routing parameters copied through scenes.
538 Appendix K: Parameters Copied Through Scenes Recall Scope For details, see “Auxes (Aux Sends)” on page 368. Store Scope For details, see “Auxes (Aux Sends)” on page 368. Routing This section shows the routing parameters copied through scenes. 3 2 1 * Item Control Parameter 1 INS switch Insert in/out 2 Field Insert return source* 3 Field Direct input source* 1 Only automated when automate patching is on.
539 Matrix (matrix channels) Matrix (matrix channels) This section shows you which matrix channel parameters are affected by copy through scenes. Config sections This section shows the configuration parameters copied through scenes.
540 Appendix K: Parameters Copied Through Scenes Comp./Output Dyn This section shows the compressor parameters copied through scenes. Only corrective compressor shown below, but typically the same for the other compressor modes.
541 Matrix (matrix channels) Gates Not applicable. EQs This section shows the EQ parameters copied through scenes.
542 Appendix K: Parameters Copied Through Scenes Matrix Sends (1 to 8) Not applicable. Fader Sections This section shows the fader parameters copied through scenes.
543 Matrix (matrix channels) Recall Scope For details, see “Matrices” on page 375. Store Scope For details, see “Matrices” on page 375. Routing This section shows the routing parameters copied through scenes. 1 3 2 1 * Item Control Parameter 1 INS switch Insert in/out 2 Field Insert return source* 3 Field Direct input source* Only automated when automate patching is on.
544 Appendix K: Parameters Copied Through Scenes GEQs You can copy the control settings of any of the GEQs through scenes. Only the Recall Scope and Store Scope options in the Sections area of the Show Editor screen are applicable to this option.
545 VCA/POPulation (groups) VCA/POPulation (groups) You can copy the group membership allocation of the VCA and Groups through scenes. However, none of the options in the Sections area are applicable to this option. Masters (master channels) This section shows you which parameters for each of the three master channels (mono and stereo left and stereo right) are affected by copy through scenes. Config sections This section shows the configuration parameters copied through scenes.
546 Appendix K: Parameters Copied Through Scenes Comp./Output Dyn This section shows the compressor parameters copied through scenes. Only corrective compressor shown below, but typically the same for the other compressor modes.
547 Masters (master channels) Gates Not applicable. EQs This section shows the EQ parameters copied through scenes.
548 Appendix K: Parameters Copied Through Scenes Matrix Sends (1 to 8) This section shows the matrix send parameters copied through scenes. 1 2 3 1 4 3 Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked 3 PRE switch Pre-fader on/off 4 level control knob Bus level Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends.
549 Masters (master channels) Fader Sections This section shows the fader parameters copied through scenes.
550 Appendix K: Parameters Copied Through Scenes Routing This section shows the routing parameters copied through scenes. 1 3 2 1 * Item Control Parameter 1 INS switch Insert in/out 2 Field Insert return source* 3 Field Direct input source* 1 Only automated when automate patching is on. Misc (miscellaneous) The Misc section has an Assignables option, which lets you copy the current control assignments of the Assignable Controls window through scenes. (The levels are not copied.
551 Appendix L: Service Information The service manual for this equipment is available for purchase. Please contact your local distributor for details. Electrostatic discharge (ESD) precautions Observe full electrostatic discharge (ESD) — also known as “anti-static” — precautions when carrying out procedures in this manual that are accompanied by the ESD Susceptibility Symbol (shown above).
552 Appendix L: Service Information Cleaning the GUI screen Switch off the control centre and electrically isolate it from the mains before cleaning. Carefully wipe the surface of the GUI screen with a soft, lint-free cloth or screen wipe specially designed for the purpose. When cleaning the GUI screen please take the following precautions: • Avoid putting pressure on the screen. • Don’t use harsh abrasives, for example, paper towels. • Don’t apply liquids directly to the screen.
553 Glossary This section provides an explanation of some of the symbols, terms and abbreviations used in this manual. 5.1 surround: A surround sound system created from six channels that form a discrete signal, which is played back over a speaker system comprising five speakers (three front and two rear) and a subwoofer (which is the “.1” or LFE channel). See LFE. -6 µ: Micro- prefix symbol that represents 10 one millionth. or A A/D: Abbreviation for “analogue to digital”.
554 Bay: One of the five main control centre modules, which contains a control surface and a GUI screen. Bus: A pathway down which one or more signals can travel. C Cat 5e: A specification for a type of cable used typically for Ethernet computer networks. Channel: Single path taken by an audio signal (input or output) through the control centre. Channel strip: Row of controls in traditional analogue layout used for the shaping of a signal.
555 Glossary has been converted into digital audio. Can be used to create, for example, compression, equalization etc., of a digital signal. A digital signal processor is a piece of equipment specifically designed for carrying out signal processing. Fricative: A consonant, such as “f” or “s”, produced by the forcing of breath through a constricted passage. E FX: Abbreviation for “sound effects”. E zone: Section in the input channel strip for controlling EQ parameters.
556 I/O: Abbreviation for “input/output”. ID: Abbreviation for “identification”. Ident: Scale marking, or gradation, around a control knob to help indicate the current setting and to assist in accurate adjustment. Impedance (Z): Opposition to the flow of alternating current in a circuit, measured in ohms. Input: 1. The signal being received by a device. 2. The physical location of where a device receives a signal. 3. Concerning the input bays on the PRO1 control surface.
557 Glossary Mono: A single signal. Mute: Function that allows a channel’s signal to be silenced. Mute safe: Function that means a mute cannot be controlled by scene recall or auto-mutes. N N/A: Abbreviation for “not applicable”. Navigation: The act of directing channels or buses to the control surface for selection, mixing, processing etc. Navigation zone: Area on the control surface concerning navigation. nm: Symbol for nanometre (one billionth of a metre).
558 Point scene: Subdivision of a scene. See Scene. Pointer: 1. On the GUI, the pointer is the arrow-shaped object on the screen that moves when the user moves the trackball or external mouse. 2. On a control knob, it is the marking that, when used in conjunction with the ident around edge of control knob, helps to indicate the setting. POPulation group: A number of channels assigned to a group that has unfold and area B controls.
559 Glossary pushbutton is on or off, or a meter showing the level of a signal. U Stereo: Two separate channels, left and right, used to give the listener the perception of where the noise is coming from. Usually used with music to give a fuller, more natural sound. Unbalanced audio: A type of audio connection that utilises only two of the leads of a cable, connector and jack. Stereo image: The perception of the different sound sources coming from far left, far right or anywhere in between.
560 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. Also, read the terms and conditions of our warranty, if applicable. 2 Malfunction.
561 FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION MUSIC Group Research UK Limited PRO1 Live Audio System Responsible party name: MUSIC Group Research UK Limited Address: Klark Industrial Park, Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England.
562 PRO1 Live Audio System Owner’s Manual
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© 2012 MUSIC Group Research UK Limited Klark Industrial Park, Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England. Tel: +44 1562 741515, Fax: +44 1562 745371 Email: mkt.info@music-group.com Website: www.midasconsoles.
