APB DynaSonics PRORACK-HOUSE User guide

ProRack – House (H1020)
OWNER’S MANUAL

APB-DynaSonics, Inc.
20 West End Road
Totowa, New Jersey, 07512, U.S.A.

Tel: [phone]
Fax: [phone]
Web: www.apb-dynasonics.com

IMPORTANT SAFTEY INSTRUCTIONS

CAUTION:
PLEASE READ AND OBSERVE ALL WARNINGS AND INSTRUCTIONS IN THIS INSTALLATION AND

OPERATING GUIDE AND THOSE MARKED ON THE UNIT. RETAIN THIS GUIDE FOR FUTURE REFERENCE.

This unit has been designed and manufactured to assure personal safety. Improper use can result in electric shock or fire hazard. The
safeguards incorporated in this unit will protect you if you observe the following procedures for installation, use, and servicing.
This unit does not contain any parts that can be repaired by the user.

DO NOT REMOVE ANY COVERS OR SUB-ASSEMBLIES, OR YOU MAY BE EXPOSED TO DANGEROUS VOLTAGES. REFER SERVICING
TO QUALIFIED SERVICE PERSONNEL ONLY.

• Read these instructions. – All of these safety and operating instructions should be read before this product is operated

• Keep these Instructions. – The safety, operating and use instructions should be retained for further reference.

• Heed all warnings. – All warnings on the product and in the operating instructions should be adhered to.

• Follow all instructions. - All operating and use instructions should be followed.

• Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider
than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is
provided for your safety. If the prong does not fit into your outlet, consult an electrician of the obsolete outlet.

• Do not use this apparatus near or water. – Do not expose apparatus to dripping or splashing and ensure that no objects
filled with liquids, such as vases, glasses or cups are placed on this apparatus. Do not operate on or near wet surfaces
such as swimming pools and do not expose to rain.

• Clean only with dry cloth. – Unplug the product from the wall outlet before cleaning. Do not use liquid cleaners.

• Do not block ventilation openings. Install in accordance with manufacturers instructions. – Slots and openings in the
assembly are provided for ventilation, to ensure reliable operation of the product, and to protect from overheating. Care
should be taken never to block these openings in any operating situation.

• Do not install near any heat source such as radiators, heat registers, stoves, or other apparatus that produce heat.

• Protect the power cord from being walked upon or pinched, particularly at the plugs, convenience receptacles, and the
point where they exit from the unit.

• Only use attachments/accessories specified by the manufacturer.

• Use only the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is
used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

• Unplug this apparatus during lightning storms or when unused for long period of times.

• Refer all servicing to qualified service personnel. Service is required when the apparatus has been damaged in any way,
such as power-supply cord or plug damaged, liquid has bee spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

• To completely disconnect mains power from this apparatus, the power supply cord must be unplugged.

• Check AC power source for correct voltage and sufficient current capacity.

• Unplug the unit from AC mains before moving, servicing, or cleaning.

• Do not use frayed or damaged power cords or connectors.

• Do not place the unit on an unstable surface.

• Do not operate and immediately unplug equipment from AC mains if liquid has entered the unit.

• Do not plug unit into AC mains if it has physically been damaged in any way.

• Secure and protect ALL cabling to and from the units to prevent they being walled on, pinched, or pulled.

• Do not install the unit in areas of high electromagnetic or RF fields.

• Observe proper procedures for lifting and moving this unit as its weight and size requires that more than a single person be
employed in these operations.

• Should the unit be damaged in any way or contaminated with liquid, have the unit inspected and serviced by qualified
service personnel.

• This unit contains no user serviceable parts. All servicing must be performed by a qualified service engineer or through
APB-DynaSonics or its qualified dealer.

• Operate in accordance with U.S. Governments’ Occupational and Health Administration (OSHA) requirements,
specifications, suggestions and regulations or those of any other local governing requirements where the equipment is to
be used or serviced.

3

YOUR PRORACK MIXER

Congratulations on your purchase of one of the finest live performance professional audio mixers manufactured in the United States.
Please take a moment to review this manual. It will insure a better understanding of the operation of this mixer and may open up new
possibilities into how you use this product.
In addition to the hard copy of this manual, it will appear within our web site www.apb-dynasonics.com with the latest updates as
well as new supplemental information. We suggest that you occasionally check our web site for additional information about your
mixer as well as for new product releases and news from APB-DynaSonics.
Should you have any questions or comments about this or any other APB

product, please do not hesitate to contact us at:

Tel: [phone] Fax: [phone]
e-mail: [email protected]

Manual Scope

This manual is not intended to teach you how to mix or how to set up a complete sound system. Should you be looking for such
information, May we suggest that you do a search for “Pro Audio Books” on the internet, or attend one of the many fine Recording
Schools that may be available to you. Many of these schools offer courses in Live Performance associated subjects as well as basic
mixing techniques.

One of the best sources of teaching the technical aspect of system design and operation is through the Syn-Aud-Con organization:

Synergetic Audio Concepts, Inc., 8780 Rufing Road Greenville, IN, 47124 – USA
Tel: [phone] Fax : [phone] For calls outside of the US: 812.923.0174
Email: [email protected]

www.synaudcon.com

4

INDEX

OVERVIEW

FRONT PANEL................................................................................................................................................................................................. 6

REAR PANEL ....................................................................................................................................................................................................7

BLOCK DIAGRAM.......................................................................................................................................................................................... 8-9

MONO INPUT CHANNELS

PREAMP............................................................................................................................................................................................................. 10

EQUALIZATION.............................................................................................................................................................................................. 11

AUXILIARY SENDS........................................................................................................................................................................................ 12

BUS ASSIGNMENT AND PAN ................................................................................................................................................................. 13

MUTE, PFL AND LEVEL CONTROL ........................................................................................................................................................ 13

REAR PANEL CONNECTORS ....................................................................................................................................................................14

DUAL-MONO / STEREO INPUT CHANNELS

PREAMP............................................................................................................................................................................................................. 15

DUAL MONO / STEREO MODE SELECTION ................................................................................................................................... 15

EQUALIZATION ............................................................................................................................................................................................. 16

AUXILIARY SENDS ....................................................................................................................................................................................... 17

BUS ASSIGNMENT AND BALANCE ...................................................................................................................................................... 18

MUTE, PFL AND LEVEL CONTROL ....................................................................................................................................................... 18

REAR PANEL CONNECTORS ................................................................................................................................................................... 19

MASTER SECTION

GROUP CONTROLS ..................................................................................................................................................................................... 20

GROUP REAR PANEL CONNECTORS .................................................................................................................................................. 21

AUXILIARY CONTROLS .............................................................................................................................................................................22

AUXILIARY REAR PANEL CONNECTORS .......................................................................................................................................... 23

MAIN BUS CONTROLS ............................................................................................................................................................................... 24

MAIN BUS REAR PANEL CONNECTORS ............................................................................................................................................ 25

HEADPHONES AND MONITORING ..................................................................................................................................................... 26

MONITOR REAR PANEL CONNECTORS ............................................................................................................................................ 27

SOLO LINKING SYSTEM............................................................................................................................................................................. 27

LAMP AND DIMMER SYSTEM ................................................................................................................................................................ 28

GENERAL INFO

POWER SUPPLY ............................................................................................................................................................................................ 29

DIMENSIONS & MOUNTING ................................................................................................................................................................... 30

INTERCONNECTING..................................................................................................................................................................................... 31

TRACK SHEETS ....................................................................................................................................................................................... 33-35

SPECIFICATIONS ..........................................................................................................................................................................................37

5

Front Panel Overview

6

Rear Panel Overview

7

ProRack-FOH Block Diagram

Rear

Connector

Panel

Bal

XLR In

Line In

Tip

Ring

Insert
+4dBu

Direct

Out

+4dBu

Tip

Ring

ProRack Mono Inputs

Channels 1-12

Rear

Connector

Panel

Left

Bal

XLR In

Line In

Right

Bal

XLR In

Line In

Summed

Direct

Out

+4dBu

Tip

Ring

ProRack Stereo Inputs

Channels 13-16

+48V

+48V

Pad

Line
Pad

PFL

Solo Left

Grp

3-4

5-6

Stereo

PFL

Grp

3-4

1-4 Always

Summed Mono

Solo Right

Solo DC

Mono Bus

Center Bus

Left Bus

Right Bus

Group-1 Bus
Group-2 Bus

Group-3 Bus

Group-4 Bus

Aux Bus 1

Aux Bus 2

Aux Bus 3

Aux Bus 4

Aux Bus 5

Aux Bus 6

Solo Left

Solo Right

Solo DC

Mono Bus

Center Bus

Left Bus

Right Bus

Group-1 Bus
Group-2 Bus

Group-3 Bus

Group-4 Bus

Aux Bus 1

Aux Bus 2

Aux Bus 3

Aux Bus 4

Aux Bus 5

Aux Bus 6

Interconnection

Console

Console

Interconnection

15 - 65 dB

Polarity

Line

In

20Hz - 400Hz

HPF

From

Fader Amp

Pre

Post

Amp

Buffer

Fader

Direct Out

– User Options –

Dir Out

Post

Insert

Fader

Pre

Level

Hi Freq
10kHz

Level

Freq

Hi Mid

400 - 8kHz

Four Band EQ

Post
HPF

Post

Insert

Pre-EQ

– User Options –

Preamp / EQ

Sub-Board

Lo Mid

80 - 2kHz

Level

LevelFreq

Lo Freq

60Hz

Aux Pre
Pre-Fdr

EQ On

Fader

Mute

100mm

Channel

Fader

Mutes

Pre

FET

Mute

10dB

Fader Amp

Dir Out

Pre-EQ

From

Mute Sw

Aux “Pre”

Buffer

Hi-Pass

Gain

-12dB/Oct

Mic Pre

To

Aux

To

Sig

Pk
8

Chan

0

LED

6

1-2
Pre

Meter

12
Sig

Bus Assignment

Pan Circuitry

L-RCenterMono

and

Aux Sends

Grp
1-2

1

From

Peak

Pan
Pot

2

3-4
Pre

3

4

5-6
Pre

5

6

Polarity

Left

Left Gain

15 - 65 dB

Right Gain
15 - 65 dB

Stereo Hi-Pass

20Hz - 400Hz

Dir Out

Buffer

-12dB/Oct

HPF

HPF

Source Select

Left - Right

Input

Switching

Level

Hi Freq
10kHz

Hi Freq
10kHz

Pre EQ- Left

Pre EQ- Right

LevelFreq

Mid-Sweep
200 - 6kHz

Three Band EQ

200 - 6kHz 80Hz

Level

Lo Freq

80Hz

Lo FreqMid-Sweep

EQ On

100mm

Stereo

Channel Fader

Pre

Fader

Pre
EQ

Aux

Pre-Source

Select

From
Mute

Switch

Mute

FET

Mute

L

R

Pre-Aux

Buffer

Fader

Amp

Mutes

Sig

Pk
8

L

Chan

Sig

LED

Pk

Meter

8

R

Sig

Peak

To

Aux

Balance

Pot

1-2
Pre

Grp

L-RCenterMono

1-2

Bus Assignment

and

Pan Circuitry

Aux Sends

1

2

3-4
Pre

3

4

5-6

5-6

Pre

Stereo

5

6

AC Inlet
15A IEC

APB-DynaSonics

ProRack-FOH Block Diagram Rev 0.92 10-Aug-08

ProRack Power Supply

Model: PRPS-60

Removable Power Supply

Off

Power

On

AC IN

100-240V

50/60 Hz

70W

The power supply assembly can be removed from the chassis

12

3

XLR Outputs

wit h 6 screws and is easily field-replaceable.

DynaSonics

ProRack™ Series

Designed and Built in the USA

Audio Connections

1= Chassis

1= Chassis

12

2= In +

2= Out +

3

3= In –

3= Out –

T= Send

T= In +
R= In –
S= Chassis

T= Out +

R= Return

R= Out Rtn

S= Audio Gnd

S= Chassis

Insert WiringXLR Inputs

Dir OutputsLine/Bus Inputs

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

AVIS :

WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO

NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. THE

APPARATUS MUST NOT BE EXPOSED TO DRIPPING OR

SPLASHING AND NO OBJECTS FILLED WITH LIQUIDS, SUCH

AS VASES, SHOULD BE PLACED ON THE APPARATUS.

AVERTISSEMENT:

AFIN DE PRÉVENIR TOUT RISQUE DE FEU OU DE CHOC
ÉLECTRIQUE, ÉVITEZ D’EXPOSER CET APPAREIL À LA PLUIE
OU À L’HUMIDITÉ. NE PAS PLACER DE RÉCIPIENT DE LIQUIDE

À PROXIMITÉ DE L’APPAREIL, AFIN D’ÉVITER DES

ÉCLABOUSSURES OU RENVERSEMENTS SUR CELUI-CI.

MOUNT IN RACK ONLY

INSTALLER SUR SUPPORT DE MONTAGE SEULEMENT

NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

ProRack Power Supply

Model PRPS-60

APB-DynaSonics

20 West End Road
Totowa, New Jersey 07512
www.apb-dynasonics.com

Internal

Fan

[email protected]

-18V @ 1.5A
+15V @ 1A
+48V @ 0.2A

Power Distibution and Filter Board

ProRack-FOH Block Diagram

Interconnection

Console

Console

Interconnection

Aux Outputs

1 of 6 shown

Aux Mix Bus

Solo Left

Solo Right

Solo DC

AFL on Aux 5 & 6

is Stereo-linked

Group Outputs

1 of 4 shown

Group Mix Bus

Solo Left

Solo Right

Solo DC

Group Meter Feed

Mono Bus

Center Bus

Left Bus

Right Bus

Aux 1 to 6

AFL

Groups 1 to 4

AFL

Group Bus

Assignment

Grp To

Mono

Grp To
Center

Grp To

Left

Grp To

Right

Aux

Mix Amp

Group

Mix Amp

Fader

Amp

Fader

Amp

Master Metering

9

Bus In
+4dBu

Peak

Sig

10dB

Aux

Level

Peak

Sig

10dB

Group

Fader

Tip

Aux Insert

-2dBu

Ring

Aux Out

+4dBu

Bus In
+4dBu

Tip

Group Insert

-2dBu

Ring

Group Out

+4dBu

Stereo Alternate Out

Mono

Center

Post-fader
Main Outs

Right

Grp-1 Grp-2 Grp-3 Grp-4Mono Center Left Right

Group Out put SignalsMain Output Signals

- Add -

Center Mono

Signal

Left

Summing

L & R Always Active

Stereo

Level

Group
Meters

Alt

9
6
3
0
3

6
12
24

Meter Drivers

Solo Met er Switch-over Logic

Left Right

Solo Aud io

Solo DC

Signals

Signal

-12dB

6
3
0
3

6
12
24

L

R

Left

Stereo
Alt Out

Right

Main Outputs

1 of 4 shown

Main Mix Bus

Main Meter Feed

Solo-L

Mix Amp

Solo-R

Mix Amp

Solo-DC

Mono, Center, Left, Right

Main

Mix Amp

Fader

Amp

Solo Linking

In Out

Low-current LED to Hi-current Halogen.

10dB

100mm

Main

Fader

Single Stereo fader

for Left & Right

Solo Aud io

Signals

Intensity
Trimmer

Any style lamp can be used;

Peak

Sig

Post-fader

Outputs

4-Pin XLR

for 12V Lamps.

Level

Mono

Center

Right
Aux 5
Aux 6

Right

Left

Ext

Monitor In

Bus In
+4dBu

To Mon & HP

Source Select

Tip

Main Insert

-2dBu

Ring

Left

Mic

Main Out

+4dBu

Monitor Source Select

CenterMono

Left

All Signals Summed

Aux

L-R

5-6

Solo

Audio

Switch

DC

Logic

Ext
Mon

Monitor

Level

Headphone

Level

Headphone

Jacks

on Front Panel

Right

Sum

Monitor

Out

DynaSonics

ProRack-H1020

Block Diagram

PRORACK HOUSE - MONO INPUT CHANNELS (1-12)

Channel Preamp

48 Volt Phantom Power Switch

When depressed, activates 48-Volt phantom power to the XLR connector. Phantom power is required
for operation of most condenser microphones. See your microphone instructions to see if phantom
power is required or is to be defeated (some –though few-microphones require phantom power NOT
be activated or they may be damaged). Some active Direct Boxes can also use phantom for power.

Mic/Line Switch

Selects between mic input source on XLR connector and line input source on the XLR connector or 1/4”
Line input Jack. When in the UP position, the XLR source is processed as a microphone input signal.
When in the DOWN position, the input is processed as a line level signal from the XLR connector or 1/4”
connector, with the 1/4” connector having priority over the XLR connector. If both connectors are in­use, this switch will select between the XLR (Up) and the TRS (Down)

Polarity Reverse Switch

When depressed, reverses the electrical input polarity of any microphone or line level input signal. Use
of this control may alter the sound quality of an input relative to other channels when multiple
microphones are picking up the same sound. (In the past, many consoles labeled this function as
“Phase” or used the Ø symbol).

Pad Switch

When depressed, inserts a 26dB pad into the microphone input signal path prior to the microphone
preamplifier to prevent overload of excessively high microphone input signal levels. Use this pad
switch when you find that you are operating the gain control in the lower 20% of the control range and
still showing excessive signal levels (yellow and red indications) on the channel meters.

Input Gain Control

This control adjusts the amount of gain at the input stage for the best signal performance within the
console. The goal is to achieve the best signal-to-noise while amplifying input signals to workable
levels, neither too high nor low. The channel’s six-segment meter is used for visualization of proper
channel levels while soloing the channel will give more detailed level information by using the higher
resolution meters in the Master section. Proper level is achieved when there is continuous full green
illumination when input sources are at their highest levels with occasional flashes of the yellow and red
LEDs.

10

PRORACK HOUSE - MONO INPUT CHANNELS (1-12)

Channel EQ

High Pass Filter Control

Adjusts the high pass filter frequency between 20Hz and 400Hz at a roll off rate of 12dB per octave.
This control is used to remove unwanted signal content below the indicated frequency, such as stage
rumble. This results in a clearer signal that reduces low frequency buildup in an audio system, which
is often perceived as a muddy signal. When this control is turned fully counter-clockwise, the filter
circuitry is removed from the signal path to maintain optimum phase response.

NOTE: The High-Pass filter is NOT controlled by the EQ On switch (See below).

High Frequency Level Control - Shelving

Adjusts the high frequency shelving EQ response between +/-15dB. The center, or "0", position of
this control has a detent to indicate that it is having no effect on the associated channel signal. Boost
or cut of the high frequency level control is used for tonal adjustments. The corner frequency of the
shelving filter is 10kHz.

High-Mid Frequency Control

This frequency control selects the center frequency of the high-mid frequency band EQ between
400Hz and 8 kHz with a bandwidth of approximately one octave.

High-Mid Level Control

Adjusts the high-mid frequency cut/boost between +/-15dB. The center “0” position of this control
has a detent to indicate it is having no effect of this frequency band. The high-mid frequency controls
are used for minor tonal adjustment or repair of a specific band of frequencies.

Low-Mid Frequency Control

This frequency control selects the center frequency of the low-mid frequency band between 80Hz
and 2 kHz with a bandwidth of approximately one octave.

Low-Mid Level Control

Adjusts the low-mid frequency cut/boost between +/-15dB. The center “0” position of this control
has a detent to indicate it is having no effect of this frequency band. The low-mid frequency controls
are used for minor tonal adjustment or repair of a specific band of frequencies.

Low Frequency Level Control - Shelving

Adjusts the low frequency shelving response between +/-15dB. The center “0” position of this control
has a detent to indicate that it is having no effect of the associated channel signal. Boost or cut of the
low frequency level control is usually used for minor tonal adjustments. Corner freq is 60Hz

EQ ON Switch with LED

This switch inserts the 4-band EQ into the channel signal path. EQ activation is displayed by the
illumination of an LED next to the EQ On switch. When not in use, it is suggested that the EQ be kept
in the OFF position for the best phase performance.

NOTE: The EQ On switch only affects the 4-band EQ circuitry. The High-Pass Filter is controlled

ONLY by its own rotary control

11

PRORACK HOUSE - MONO INPUT CHANNELS (1-12)

Aux Sends

Aux 1-6 Pre-Fader / Pre-EQ Switch

This switch defines the “Pre” signal source for all Auxes: Up is Pre-Fader (and Post-EQ), Down is Pre-EQ.
Internally, the default Pre-EQ source is set to Post-insert. A qualified technician can change this to a Pre-insert
(Post HPF) on a channel-by-channel basis.

Aux 1-2 Pre Switch

This switch determines the signal source for Aux mixes 1 and 2 between Post-fader (Up) or the above
defined “Pre” signal (Down).

Aux Level Control 1

Adjusts the mix level of the channel into Aux bus 1.

Aux Level Control 2

Adjusts the mix level of the channel into Aux bus 2

Aux 3-4 Pre Switch

This switch determines the signal source for Aux mixes 3 and 4 between Post-fader (Up) or the earlier
defined “Pre” signal (Down).

Aux Level Control 3

Adjusts the mix level of the channel into Aux bus 3.

Aux Level Control 4

Adjusts the mix level of the channel into Aux bus 4

Aux 5-6 Pre Switch

This switch determines the signal source for Aux mixes 5 and 6 between Post-fader (Up) or the earlier
defined “Pre” signal (Down).

Aux 5-6 Stereo Switch

Reconfigures the individual 5 and 6 Aux level controls from two level controls to a level control (6) and
a pan control (5) between bus 5 and 6. This enables a stereo mix to be generated from within this aux
send section for use with stereo headphones, effects, or a discrete stereo mix for recording or broadcast
use.

Aux 5 Level Control

When in normal mono mode, controls the signal level feeding Aux bus 5. When the Aux 5-6 stereo
switch is depressed, this knob now operates as a pan control and adjusts the balance of the signal
being fed to mix buses 5 (CCW) and 6 (CW).

Aux 6 Level Control

When in normal mono mode, controls the signal level feeding Aux bus 6. When the Aux 5-6 stereo
switch is engaged, this knob becomes the Aux 5-6 level control feeding the above pan control.

12

PRORACK HOUSE - MONO INPUT CHANNELS (1-12)

Channel Control

Pan Control

This control blends the post fader signal between any of the assigned bus pairs: L-R, Group1-2 and Group
3-4. When at the center, detented position, both sides are fed equal amounts of signal (each down by
3dB). This pan control has no effect on the Mono or Center mix buses.

Channel Mute Switch (Internally Illuminated)

When pressed, this latching switch will mute the assigned outputs of the channel and all pre and post
auxiliary sends. The Mute does not affect the channel’s PFL feed, channel metering or the Direct Out
(unless it was set for Post-fader). This switch illuminates RED when activated.

Channel Level Meters

6-segment LED meter indicates the pre-fader channel level. The top segment peak indicator will
illuminate red if any of the multiple sample points in the signal chain approaches 3dB of clipping. A yellow
LED illuminates in the caution zone at a +8 reference level. Four green LED segments indicated signal
levels of 0, -6, -12, and Signal Present. The signal present LED first illuminates at approximately -30 and
increases in brightness with level until it is at full intensity. Best operation is achieved when the bottom 3
green LED’s are illuminated with average input signals with only occasional short yellow/red bursts of the
+8 and peak LEDs.

Mono Assignment Switch

Assigns the post-fader channel signal to the Mono mix bus. It is used as a general purpose post fader
output for use as an additional primary console output, aux or matrix send including use for surround or
subwoofer mixes. It may also be used as part of an A-B vocal mix.

Center Assignment Switch

Assigns the post-fader channel signal to the Center mix bus. In mono sound systems, this bus can be used
as the primary (Center) output (leaving the L-R output available for stereo recording). It is usually used in
LCR installations to feed a discrete signal to the center speaker cluster. It may also find use as a general
purpose post fader output for use as an additional aux or matrix send or as part of an A-B vocal mix.

L-R Assignment Switch

Assigns the post-fader channel signal to the Left-Right mix buses through the Pan Control.

1-2 Assignment Switch

Assigns the channel signal to the Group 1 & 2 mix buses through the Pan Control. The Groups can be used
independently using their own insert & XLR output jacks, or used as subgroups and assigned back into
the Main mix buses (See Master Section- Groups).

3-4 Assignment Switch

Assigns the post-fader channel signal to the Group 3 & 4 mix buses through the Pan Control. Operation is
the same as the Group 1 & 2 assignment.

100mm Channel Fader

This high quality fader controls the post-fader channel level.

PFL Switch (Internally Illuminated)

When pressed, this latching switch will route the Pre-fader channel signal to the Solo system (located in
the Master section). This switch illuminates Yellow when activated.

13

PRORACK - HOUSE Mono Input Channel Connectors (Rear Panel)

XLR Input Connector

This connector accepts microphone or line input signals, as determined by the front panel input
source switch and if the TRS line input connector is occupied. When the front panel input source
switch is in the microphone position (Up), this XLR connector will be used as a microphone input and
will have an input impedance of >3000 ohms. When the input selector source switch is in the LINE
input position (Down) and nothing is plugged into the TRS line input connector, this XLR connector
is used as a balanced line input with an input impedance of >10k ohms. If a connector is plugged
into the TRS line input connector, the XLR connector will always be configured as a microphone
input connector with an input impedance of >3000 ohms. This is a locking connector. To remove an
XLR cable, depress the Tab on the connector before attempting to remove the cable plug from the
console connector.

1/4” TRS Line Input Connector

This connector accepts line input signals and has an input impedance of >10k ohms. When the front
panel source switch is selected to line input, signal is first sourced from this connector. If nothing is
plugged into this connector, the XLR input is normaled through this connector as a line input signal.
The line input may be balanced or unbalanced signal.

1/4” TRS Insert Connector

This connector allows external processing or effects electronics to be inserted into the channel’s
signal path after the variable high pass filter. Tip= Send, Ring= Return, Sleeve= Ground. Examples of
external devices include additional equalization, notch filters, compressors, limiters, vocal doublers
and harmonizers, reverb devices, etc. The insert send has an output impedance of 100 ohms
unbalanced and the insert return has an input impedance of 5k ohms unbalanced.
Operating level is +4dBu.
NOTE: The user should ensure that any device inserted into the channel’s signal path is capable of
maintaining the signal integrity of the console. The device must be able to accept a +22dBu signal
without clipping, and have an output impedance of 100 Ω or less and be capable of driving +22dBu
into a 2k Ω load.

1/4” TRS Direct Output Connector

The connector provides a balanced line level output of the input channel’s signal. The default DO
signal is AFTER the microphone preamplifier but before all other processing. This utility output can
be used to feed a multi-track recording device, effects device, or to feed another mixing or
processing device including distributed monitor mixing systems. Operating level is +4dBu

Direct Output - Internal Options

Internal jumpers may be changed (on a channel-by-channel basis) to Post-insert, Pre-fader or Post-fader.
The Direct Output is always active and
internal-option is implemented.

(Any changes to the Direct Output source should be made by a qualified technician)

not affected by the channel Mute switch unless the Post-fader

14

PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)

Channel Preamps

48-Volt Phantom Power Switch

When depressed, activates 48 Volt phantom power to both of the XLR input connectors. Phantom
power is required for operation of most condenser microphones. See your microphone instructions to
see if phantom power is required or is to be defeated (some –though few-microphones require
phantom power NOT be activated or they may be damaged). Some active Direct Boxes can also use
phantom for power.

Pad / Line Input Switch

This dual-purpose switch is used to pad down microphone input levels or enables input channels to
accept line level input signals via the XLR connector. When depressed, it inserts a 26dB pad into the
input signal path prior to the preamplifier to prevent overload of excessively high microphone input
signal levels. Use this pad switch when you find that you are operating the gain control in the lower
20% of the control range and still showing excessive signal levels (yellow and red indications) on the
channel dual meters. Also select this when a line input signal is plugged into the XLR input connectors.
If both connectors are in-use, this switch will select between the XLR (Up) and the TRS (Down)

Polarity Reverse Switch

When depressed, reverses the electrical polarity of -only- the left-side input signal. Use of this control
may alter the sound quality of an input relative to other channels when multiple microphones are
picking up the same sound. (In the past, many consoles labeled this function as “Phase” or used the Ø
symbol).

Left Input Gain Control

This control is used to adjust the input gain of the left-side preamp for optimum performance without
producing audible noise (hiss) at high gain settings. The channel’s LED meters and the solo PFL meters
are used in assisting in setting the control for correct gain levels.

Right Input Gain Control

This control is used to adjust the input gain of the right-side preamp and operates the same as (but
independently of) the left-side gain control.

Dual-Mono / Stereo Source Switches

This pair of switches determines the operating mode of the channel.

If no switches are selected (both Up) the channel acts as a conventional stereo-input channel; left
input signals feed the left-side of the channel, right input signals feed the right-side of the channel.
Stereo separation is maintained through the EQ, fader and (stereo) bus assignments. The Balance
control will adjust the relative levels of the left and right signals being sent to any assigned bus-pairs: L­R, Grp 1-2, Grp 3-4.

If both switches are depressed, the left and right inputs are summed to mono after their individual
preamp circuits. The channel now acts as a dual-mono input channel and with separate trim levels for
the two microphone or line inputs (usable when micing similar instruments in close proximity to each
other such as a pair of toms on a drum kit or choir members). Adjustments may be made to each input
for correct balance using the associated input gain control. This summed-signal is then sent equally
through both sides of the channel’s EQ, fader and bus assignment circuitry. The Balance control now
acts as a Pan control and pans this mono signal across any assigned bus-pairs.

If only one switch is depressed, then that single input is selected for use as a mono source and only
that sided preamp is used. This single input is sent equally through the channel’s EQ, fader and bus
assignment circuitry. The Balance control acts as a Pan control and pans this mono signal across any
assigned bus-pairs.
NOTE: If you are going to use the channel as a single-input mono channel, we suggest using the left­side input since you then have a polarity-reverse switch available.

15

PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)

Channel EQ

High Pass Filter Control

Adjusts the high pass filter frequency between 20Hz and 400Hz at a roll off rate of 12dB per octave
for both sides (L & R) of the channel path. This control is used to remove unwanted signal content
below the indicated frequency, such as stage rumble. This results in a clearer signal that reduces low
frequency buildup in an audio system, which is often perceived as a muddy signal. When this control
is turned fully counter-clockwise, the filter circuitry is removed from the signal path to maintain
optimum phase response.

NOTE: The High-Pass filter is NOT controlled by the EQ On switch (See below).

Hi Frequency Level Control

Adjust the high frequency shelving cut/boost between +/-15dB of both sides (L & R) of the channel. The
center “0” position of this control has a detent to indicate that it is having no effect of the associated
channel signal. Boost or cut of the high frequency level control is usually used for minor tonal
adjustments. Use of this EQ control will affect both the left and right signal paths. Corner freq is 10kHz.

Mid Frequency Control

This frequency control selects the center frequency of the low-mid frequency band between 200Hz and
6 kHz at a bandwidth of approximately one octave.

Mid Level Control

Adjust the low-mid frequency cut/boost between +/-15dB of both sides (L & R) of the channel. The
center “0” position of this control has a detent to indicate it is having no effect of this frequency band.
The mid frequency controls are used for minor tonal adjustment or repair of a specific band of
frequencies.

Low Frequency Level Control

Adjust the low frequency shelving cut/boost between +/-15dB at the reference frequency selected. The
center “0” position of this control has a detent to indicate that it is having no effect of the associated
channel signal. Use of this EQ control will affect both the left and right signal paths. Corner freq is 80Hz

EQ ON Switch with LED

This switch inserts the Left and Right EQ circuitry into the channel signal path. Stereo EQ activation is
displayed by the illumination of the LED. When not in use, it is suggested that the EQ be kept in the OFF
position for best phase performance.

NOTE: The EQ On switch only affects the 3-band EQ circuitry. The High-Pass Filter is controlled

ONLY by its own rotary control

16

PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)

Channel Auxes

The signals feeding the Aux section are normally mono-mixes of the left & right side signals within
the module. For Auxes 5 & 6, when they are switched to Stereo, the left-side signal feeds the Aux 5
control, the right-side signal feeds the Aux 6 control.

Aux 1-6 Pre-Fader / Pre-EQ Switch

This switch defines the “Pre” signal source for all Auxes; Up is Pre-Fader (Post-EQ), Down is Pre-EQ.

Aux 1-2 Pre Switch

This switch selects the signal source for Aux mixes 1 and 2 between Post-fader (Up) or the above
defined “Pre” signal (Down). The feed to these Auxes is a sum of the left & right channel signals.

Aux Level Control 1

Adjusts the summed mono mix of the channel into Aux bus 1.

Aux Level Control 2

Adjusts the summed mono mix of the channel into Aux bus 2.

Aux 3-4 Pre Switch

This switch selects the signal source for Aux mixes 3 and 4 between Post-fader (Up) or the earlier
defined “Pre” signal (Down). The feed to these Auxes is a sum of the left & right channel signals.

Aux Level Control 3

Adjusts the summed mono mix of the channel into Aux bus 3.

Aux Level Control 4

Adjusts the summed mono mix of the channel into Aux bus 4.

Aux 5-6 Pre Switch

This switch selects the signal source for Aux mixes 5 and 6 between Post-fader (Up) or the earlier
defined “Pre” signal (Down). The feed to these Auxes is a sum of the left & right channel signals.

Aux 5-6 Stereo Switch

Reconfigures the signals feeding the individual Aux 5 and 6 level controls from a summed mono mix
to separate left & right signals.

Aux 5 Level Control

Adjusts the summed mono mix of the channel into Aux bus 5. When the Aux 5-6 stereo switch is
depressed, this control is now reconfigured to only feed the channel’s left-side signal into Aux bus 5.

Aux 6 Level Control

Adjusts the summed mono mix of the channel into Aux bus 6. When the Aux 5-6 stereo switch is
depressed, this control is now reconfigured to only feed the channel’s right-side signal into Aux bus 6.

17

PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)

Assignment

Balance Control

This control blends the post-fader signal between any of the assigned bus-pairs: L-R, Group1-2 and Group
3-4. When at the center, detented position, both sides are fed equal amounts of signal (each down by
3dB). This Balance control has no effect on the Mono or Center mix buses. When the channel mode
switches are both in their Up position (see earlier section), this control acts as a balance control between
the channel’s left and right assigned signals. If any of the mode switches are depressed (mono operation),
this control performs as a pan control between the assigned bus-pairs.

Channel Mute Switch (Internally Illuminated)

When pressed, this latching switch will mute the assigned outputs of the channel and all pre and post
fader auxiliary sends. The Mute does not affect the channel’s PFL feed or channel metering. This switch
illuminates RED when activated.

Channel Level Meters

2 x 3 segment LED meter indicates pre fader channel level. The top segment (1 left, 1 right channel) peak
indicator will illuminate red if any of the multiple sample points in the stereo signal chain approaches 3dB
of clipping. A yellow LED on each channel illuminates in the caution zone at a +8 reference level. The
green signal present LED first illuminates at approximately -30 and increases in brightness with level until
it is at full intensity on each channel. Best operation is achieved when the green LEDs are illuminated with
average input signals with only occasional short yellow/red bursts of the +8 and peak LEDs.

Mono Assignment Switch

Assigns the post-fader summed-channel signal to the Mono mix bus. It is used as a general purpose post
fader output for use as an additional primary console output, aux or matrix send including use for
surround or subwoofer mixes. It may also be used as part of an A-B vocal mix.

Center Assignment Switch

Assigns the post-fader summed-channel signal to the Center mix bus. In mono sound systems, this bus
can be used as the primary (Center) output (leaving the L-R output available for stereo recording). It is
usually used in LCR installations to feed a discrete signal to the center speaker cluster.

L-R Assignment Switch

Assigns the post-fader channel signals to the Left & Right mix buses through the Balance Control. In
Stereo or Dual Mono sound systems, this is the most likely used primary output assignment on the
console. The Left & Right outputs are also typically used for music reproduction when Center or Mono mix
buses are used for the Center-fill or sub output of the Console.

1-2 Assignment Switch

Assigns the post-fader channel signals to the Group 1 & 2 mix buses through the Balance Control. The
Groups can be used independently using their own insert & XLR jacks, or used as subgroups and assigned
back into the Main mix buses (See Master Section- Groups).

3-4 Assignment Switch

Assigns the post-fader channel signals to the Group 3 & 4 mix buses through the Balance Control.
Operation is the same as the Group 1 & 2 assignment.

100mm Channel Fader

This high quality stereo fader controls the post-fader channel levels.

PFL Switch (Internally Illuminated)

This switch will internally illuminate yellow when activated. It will route Pre-Fader dual-mono/stereo
signal to the master section for display on the Left/Right solo meters and into the monitor/headphone
systems.

Discrete Sub Woofer Feed Using Mono Assignment Bus

The MONO bus may be used as a fixed level discrete feed to a subwoofer system. The Left-Right, Center, and Mono outputs are
controlled from three individual master faders that when adjusted equally maintains balance between all outputs including the
MONO sub output when master signal levels are changed.

18

PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS

Rear Panel

XLR Input Connector (Separate for left and right inputs).

This connector accepts microphone or line input signals, as determined by the front
panel combination Mic/Line – Pad switch.
This is a locking connector. To remove an XLR cable, depress the Tab on the connector
before attempting to remove the cable plug from the console connector.

1/4” TRS Line Input Connector (Separate for Left and Right inputs)

This connector accepts line input signals and has an input impedance of >10k ohms.
The line input may be balanced or unbalanced signal.

1/4” TRS Direct Output Connector (Summed-Mono Output)

The connector provides a line level output of the input channel’s Post-HPF/Pre-EQ
signal. This output can be used to feed a multi-track recording device, effects device,
or to feed another mixing or processing device including distributed monitor mixing
systems. Operating level is +4dBu.

19

PRORACK HOUSE – MASTER SECTION

GROUP CONTROL SECTION

Group Metering

When the Group Meter Select switch located above the group faders is depressed,
the meters located directly above these four group faders will display the post-fader
output levels as they appear on the rear panel XLR connectors. When selected, the
associated “Groups” LED will illuminate (yellow) to indicate that the meters are set to
display group output levels.

Signal Level LED

This bi-color Red/Green LED monitors the signal level on the associated Group mix
bus. Varying intensity Green indicates proper bus levels while Red indicates the bus is
at or near overload; this should be an indication to the operator that the channel
input fader levels should be decreased until the red peak indicators are no longer
activated. The red Peak LED monitors the mix bus output, Insert-return AND the post­fader signal levels.

Group Level Control Fader

This fader will adjust the output level appearing on the XLR balanced group output
connector and the levels being sent to any of the assigned Master buses.

Mono, Center, Left, Right Assignment Switches

Allows the associated Group post-fader signal (post insert) to be assigned to any of
the primary output buses of the console. This is useful when an operator wishes to
form an analog subgroup for the purposes of inserting a common signal processing
device or to have common control a “group” of assign selected input channel signals.
For subgroup control of a stereo group signal being fed to the primary outputs, an
adjoining group pair would be used with the LEFT assignment switch selected on the
odd number channel and the RIGHT assignment switch selected on the even number
of channel.

Group AFL Switch (Internally Illuminated)

When selected, this switch will route post fader (post insert point) signal to the
consoles PFL/AFL Solo system for display on the consoles master meters and to the
mixers monitor/headphone system.

20

GROUP OUTPUT CONNECTORS – REAR PANEL

Balanced 1/4” TRS Group Bus-Inputs

The 10k ohm balanced inputs are provided to bring an external line level signal into the Group mix amp (prior to the fader
level control). This allows any group fader to be used as an additional line level input into the mixer. It may also be used as
part of the system to link multiple mixers together by bring the group output signal of the slave mixer (output level set to
unity) into these group TRS connectors. Any signal brought into these group inputs will be mixed with any other input
signals assigned to this group mix bus.

Group 1/4” TRS Insert Connector

This connector allows external processing or effects electronics to be inserted into the Group’s signal path after the mix amp.
Tip= Send, Ring= Return, Sleeve= Ground. Examples of external devices include additional equalization, notch filters,
compressors, limiters, vocal doublers and harmonizers, reverb devices, etc. The insert send has an output impedance of 100
ohms unbalanced and the insert return has an input impedance of 5k ohms unbalanced.
Operating level is -2dBu.
NOTE: The user should ensure that any device inserted into the Group signal path is capable of maintaining the signal
integrity of the console. The device must be able to accept a +22dBu signal without clipping, and have an output impedance
of 100 Ω or less and be capable of driving +22dBu into a 2k Ω load.

XLR Balanced Group Output

This is an 100 ohm electronically balanced line level output on an XLR connector designed to drive a 600 ohm load or greater.
Operating level is +4dBu

21

PRORACK HOUSE – MASTER SECTION

AUXILARY CONTROL SECTION

Auxiliary Output Level Control (1 thru 6)

This control will adjust the auxiliary output level appearing on the associated XLR
balanced output connector.

Dual-Color Bus Level LED Monitoring

This bi-color Red/Green LED monitors the signal level on the associated auxiliary mix
bus. Varying intensity Green indicates proper bus levels while red indicates the bus is
at or near overload, indicating that an auxiliary level control reduction should be
made on the associate auxiliary mix channel. The red Peak LED monitors the mix bus
output, Insert-return AND the post-level control signal levels.

Auxiliary AFL (Solo) Switch (Internally illuminated)

When selected, this switch will route post level (post insert point) auxiliary signal to
the consoles PFL/AFL Solo system for display on the consoles master meters and to
the mixers monitor/headphone system. If AFL switches 5-6 are simultaneously
depressed, contents will be monitored as a stereo Left-Right signal into the meters
and into the Monitor/Headphone system of the mixer.

22

AUX OUTPUT CONNECTORS – REAR PANEL

Balanced 1/4” TRS Auxiliary Bus-Inputs

The 10k ohm balanced inputs are provided to bring an external line level signal into an auxiliary bus prior to its level control. It may
be used as part of the system to link multiple mixers together by bring the auxiliary output signal of the slave mixer (output level set
to unity) into these auxiliary input TRS connectors. Any signal brought into these auxiliary inputs will be mixed with any other input
signals fed to this auxiliary mix bus.

Aux 1/4” TRS Insert Connector

This connector allows external processing or effects electronics to be inserted into the Aux signal path after the mix amp.
Tip= Send, Ring= Return, Sleeve= Ground. Examples of external devices include additional equalization, notch filters,
compressors, limiters, vocal doublers and harmonizers, reverb devices, etc. The insert send has an output impedance of 100
ohms unbalanced and the insert return has an input impedance of 5k ohms unbalanced.
Operating level is +4dBu.
NOTE: The user should ensure that any device inserted into the Aux signal path is capable of maintaining the signal integrity of the
console. The device must be able to accept a +22dBu signal without clipping, and have an output impedance of 100 Ω or less and be
capable of driving +22dBu into a 2k Ω load.

XLR Balanced Auxiliary Output

This is an 50 ohm electronically balanced line level output on an XLR connector designed to drive a 600 ohm load or greater.
Operating level is +4dBu

23

PRORACK HOUSE – MASTER SECTION

MASTER OUTPUTS (Left-Right, Center, Mono)

Peak/Signal Present Bus Monitor LED’s

4 individual dual-color LEDs monitor the Mono, Center, Left and Right mix bus levels.
In normal operation, varying intensity of the green LED represents acceptable bus
signal levels. Should any of these levels approach clipping, the associated LED will
illuminate red. This should be an indication to the operator that the channel input
fader levels should be decreased until the red peak indicators are no longer activated.
(Overall output levels can be adjusted by raising the master fader position to offset
any decrease in level caused by lowering the input channel faders). . The red Peak
LED monitors the mix bus output, Insert-return AND the post-fader signal levels.

Mono, Center and Left/Right Level Control Faders

These faders adjust the output level appearing on the associated XLR balanced
group output connectors. Each control has a range of from cut-off to +10dB of gain
above unity. A single fader is used to control the Left/Right output level maintaining
an absolute balance for these outputs as master level changes are made. Though
two master faders are labeled as Center and Mono, these should be considered as
two separate mono outputs that are usable for whatever application that required a
mono signal derived directly from the selected input channels. These include uses
to feed a center speaker cluster (use of the Center fader suggested), a sub-woofer
feed (use of the Mono fader suggested), or uses as additional post fader auxiliary
sends or matrix outputs.

Master Output Metering (Left - Right - Center - Mono Outputs)

The post-fader levels of the Mono, Center, Left and Right outputs are displayed on
the 4 master meters. Any PFL/AFL (Solo) switch will cause the 2 right-most meters to
display the solo’d signal in place of the master output signals. These same meters
can be manually switched to display the 4 Group output signal levels.

24

MAIN OUTPUT CONNECTORS – REAR PANEL

Balanced 1/4” TRS Bus Inputs

Left, Right, Center and Mono 10k ohm balanced inputs are provided to bring an external line level signal into the Main mix
buses prior to their level controls. These may be used as part of the system to link multiple mixers together by bring the
master output signal of the slave mixer (output level set to unity) into these master input TRS connectors. Any signal brought
into these inputs will be mixed with the associated Left, Right, Center and Mono signal on the master mixer.

Main Bus 1/4” TRS Insert Connector

This connector allows external processing or effects electronics to be inserted into the Main signal path after the mix amp.
Tip= Send, Ring= Return, Sleeve= Ground. Examples of external devices include additional equalization, notch filters,
compressors, limiters, etc. The insert send has an output impedance of 100 ohms unbalanced and the insert return has an
input impedance of 5k ohms unbalanced. Operating level is -2dBu.
NOTE: The user should ensure that any device inserted into the Main signal path is capable of maintaining the signal integrity
of the console. The device must be able to accept a +22dBu signal without clipping, and have an output impedance of 100 Ω
or less and be capable of driving +22dBu into a 2k Ω load.

Line/Microphone Level Output Switches

The output level of ProRack XLR connectors is normally at +4dBu. This is designed to drive most amplifiers to their maximum
levels or signal processing equipment to their optimum levels. In some situations you may need to plug the output of this
mixer into the microphone input of another mixer or sound system. By depressing the Mic/Line switch next to the associated
XLR output connector, output signal levels will be reduced approximately 30dB to normal microphone levels. This signal now
can be applied to the microphone input channel of another mixing device. (Warning – Make sure that phantom power is
turned OFF on the microphone input of the mixer into which ProRack is being connected or damage may result).

Mono, Center, Left and Right XLR Balanced Outputs

These outputs provide a +4dBu balanced line level output (100 ohm symmetrically-balanced) signal for each of the consoles primary
outputs.
When Mic Level is selected, output impedance is 200 ohms and operating level is –25dBu.

25

PRORACK HOUSE – MASTER SECTION

HEADPHONE AND MONITOR SYSTEM

Headphone Level Control

This control adjusts the level being fed to the headphone system.

1/4” And 1/8” Headphone Connectors

A 1/4” and a 1/8” set of headphone connectors are located on the front panel of the console.

Monitor (Speaker) Level Control

This control adjusts the stereo level being fed to the Monitor TRS output connectors of the
mixer.

Monitor/Headphone Source Selection Switches

These 5 switches determine the default audio source for the Monitor system (Monitor
and Headphone outputs). The first 4 switches select from the internal buses: Mono,
Center, L-R and Aux 5-6. These 4 sources are equally mixed together when their
corresponding switch is depressed; any mono sources are sent equally to the L & R sides
of the monitor circuitry. When Solo is active (PFL or AFL), the Solo audio signal interrupts
this default source and only the Solo audio is fed to the monitor circuitry (*See below)

Mono (M) Headphone/Monitor Source Switch

When selected, this switch will route a post master fader Mono signal equally to the left
and right stereo headphones and monitor level controls as a “phantom center” image.

Center (C) Headphone/Monitor Source Switch

When this switch is selected, it will route a post master fader Center signal equally to the
left and right stereo headphones and monitor level controls as a “phantom center”
image.

Left-Right (L-R) Headphone/Monitor Source Switch

When selected, this switch will route a post master fader left-right signal to the left and
right stereo headphone and monitor level controls.

Aux 5-6 Headphone/Monitor Source Switch

When this switch is depressed, it will route a post level control Aux 5 (left) and Aux 6
(right) stereo signal to the monitor system. This allows for monitoring of this set of
auxiliary outputs as a default signal without using the Solo system. This is useful when
Aux 5-6 are being used to generate a separate broadcast output.

External Input Headphone/Monitor Source Switch

When this switch is selected, it will route an external input to the headphone and
monitor system from the rear panel left and right external input connectors. (On older
consoles, this input was usually referred to as tape inputs).

* When this switch is depressed, it will override ALL other audio sources that may
be selected for monitoring, including any Solo signal (PFL or AFL). If nothing is
being fed to the External Line Inputs (on rear), then NOTHING will be heard in
Monitor and Headphone outputs. Check this switch first if the headphones seem to
be not working.

ADDITIONAL STEREO OUTPUT
Stereo Alternate Level Control

This control adjusts an additional stereo output that can be used to feed an external
recording device or additional physical location (such as a cry room). In addition to the Left
& Right buses, the mixer’s Center or Mono buses may also be mixed in with the Left & Right
signals if desired (see below).

Add C(enter) To L-R

Adds the signal from the Center bus to the Left-Right Stereo Alt Outputs. This enables an LCR
console output to be sent as a Left-Right signal to a recording device while in the FOH system
the signals are still separated into a Left-Right music system and a Center vocal only system.

Add M(ono) To L-R

Adds the signal from the Mono bus to the Left-Right Stereo Alt Outputs. This enables the Mono
bus output to be added to the left-right mix and used as an overall Left-Right signal to recording
device.

NOTE: All of the signals feeding the Stereo Alt Out section are after the main faders (Post-fader)

26

PRORACK HOUSE – MASTER SECTION REAR PANEL

Rear Panel Monitor Output Connectors

Impedance Balanced 1/4” output connectors are provided for Left and Right monitor speaker outputs. An additional 1/4” Impedance
Balanced output connector is provided which is a sum of the Left, and Right signals. This connector may be used as a summed mono
output to feed a sub-woofer system or to drive a mono wedge monitor system when the console is used as a monitor console.

External Input Connectors

Balanced 1/4” input connectors are provided for monitor of an external signal such as monitoring a signal directly off of a radio
broadcast; separate left & right connectors are provided. If a mono source needs to be monitored, plugging into
input jack will feed the signal to

both the left & the right sides of the monitor system.

1/4” Left and Right Stereo Alternate (Record) Output Connectors

Impedance-balanced left and right 1/4” TRS connectors are provided at a +4dBu operating level for the Stereo Alternate Output.
(Output Impedance = 100 ohms Impedance Balanced).

RCA Stereo Alernate (Record) Outputs

RCA connectors are also provided for low level outputs (-10dBV) of the stereo alternate output to better match the input
requirements of consumer grade recording devices.

SOLO (PFL/AFL) LINKING SYSTEM

Two 5-pin DIN connectors are provided that allow the Solo systems of multiple ProRack mixers to be linked together. Thus, a single
set of headphones can be used to monitor the solo functions of multiple mixers. This Solo-linking can also be used with a larger APB
Spectra console if it is fitted with a Solo Linking option.
Use a 5-pin circular DIN cable to link the OUT connector of the Slave console to the IN connector of the Master console. Any Solo
activity on the Slave console will still show up on that console but will now also activate the Solo function on the Master console
where the Slave’s solo audio can be heard, mixed in with any Master Solo activity.
The DIN cable should be wired pin-to-pin with an overall shield tied to the connector shells on each end.

Contact APB about where to obtain a Solo-Linking cable.

just the Left

27

PRORACK HOUSE – ADDITIONAL FEATURES

LAMP AND DIMMER SYSTEM

4-Pin XLR Lamp Connector

A four-pin XLR connector can be used with a Littlite® or other similar gooseneck
lamp. Compatible with Hi-intensity (Halogen), regular incandescent or LED lamps. A
straight, 12-inch length gooseneck works best for this console. A locking connector
is provided for this lamp which must be depressed and held while removing the
plug in lamp.
Positive voltage on Pin-4, 0V on Pin-3, No Connection to Pins 1 & 2.
An internal resettable fuse protects against shorts on this connector.
Maximum allowed current draw is 350mA @ 12V.

Lamp Intensity Control

A recessed trimmer control is provided adjust the brightness of the plug-in lamp.
This may be adjusted with a small flat-blade or jeweler’s screwdriver. Maximum
brightness is achieved by turning this control to its full clockwise position (12V);
minimum brightness at full counter-clockwise (< 2V).

ROTATING CONNECTOR POD

The rear connector chassis may be rotated between three different locking positions. When used freestanding on a desktop, the fully
opened 90-degree position is recommended. When mounted in an upright rack, the 180-degree position may be selected. In an
angled rack, a mid position may be the best choice. The connector panel is locked into position using the two provided #10-32
screws on each side of the panel. Remove these screws before trying to rotate panel or damage (maybe to you) may result. It is
suggested to reinstall these screws once the panel position is selected.

If these screws are lost, replace with #10-32 x 1/4” Flat-head Stainless Steel screws- maximum length allowed is 3/8”.

Do not transport the mixer with the rear panel unsecured. See the following pages for additional mounting information.

28

ProRack Power Supply

Model PRPS-60

6 screws are located along this lower flange to

mount the power supply assembly to the rear of

the ProRack chassis. #6-32 x 1/4” Hex-drive Panhead

Ventilation slots- keep these clear of any obstructions

when using the ProRack.

Air is drawn in through these slots and exhausted

through slots in the ProRack chassis

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

AC

Power Sw

IEC AC

Inlet

Off

Power

On

AC IN

100-240V

50/ 60 Hz

70W

1= Chassis

12

2= Out +

3

3= Out –

XLR Outputs

12

3

1= Chassis
2= In +
3= In –

DynaSonics

ProRack™ Series

Designed and Built in the USA

Audio Connections

T= In +
R= In –
S= Chassis

T= Send
R= Return
S= Audio Gnd

Insert WiringXLR Inputs

T= Out +
R= Out Rtn
S= Chassis

Dir OutputsLine/Bus Inputs

AVIS :

WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO

NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. THE

APPARATUS MUST NOT BE EXPOSED TO DRIPPING OR

SPLASHING AND NO OBJECTS FILLED WITH LIQUIDS, SUCH

AS VASES, SHOULD BE PLACED ON THE APPARATUS.

AVERTISSEMENT:

AFIN DE PRÉVENIR TOUT RISQUE DE FEU OU DE CHOC
ÉLECTRIQUE, ÉVITEZ D’EXPOSER CET APPAREIL À LA PLUIE
OU À L’HUMIDITÉ. NE PAS PLACER DE RÉCIPIENT DE LIQUIDE

À PROXIMITÉ DE L’APPAREIL, AFIN D’ÉVITER DES

ÉCLABOUSSURES OU RENVERSEMENTS SUR CELUI-CI.

MOUNT IN RACK ONLY

INSTALLER SUR SUPPORT DE MONTAGE SEULEMENT

NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

ProRack Power Supply

Model PRPS-60

APB-DynaSonics

20 West End Road

Totowa, New Jersey 07512

www.apb-dynasonics.com

The power supply for the ProRack is designed to be easily field-replaced:
6 screws secure it to the rear panel of the ProRack; a captive wire-lead with locking connector is used to
mate with the circuits within the Mixer. A small internal fan circulates air through the supply into the Mixer.
All internal power supply assemblies are medically-rated and agency approved (UL/CSA/VDE/CE).
There are no user-serviceable parts inside; heed all printed warnings.

Input Voltage: 100 to 240 VAC 50/60Hz
Input Power: <72W
AC Mains Connector: IEC 15A Receptical
ProRack is supplied with mating IEC cordset with either an Edison-plug (USA/Canada) or Euro-plug (Export)

DC Output Voltages & Currents (as used by the ProRack):
+17.6V @ 1.3A

-17.6V @ 1.3A
+15V @ 1A
+48V @ 0.2A
DC Output Connector: 7-Way Molex 0.156” pitch

10.5

(267)

Note Different Position Of Locking Screws
For Each Orientation Of The Rear Chassis:

#10-32 X 1/4” UC Flat-head Phillips

2 Per Side To Secure The Rear Chassis

3

(77)

17.5

(445)

The Rear Chassis can freely

rotate from a fully-open

position (90°) to fully-closed

(180°). 3 locking positions are

provided using 2 screws per

side to secure the chassis.

AC power switch located

on this side of power supply

(hidden by mounting ear)

IEC AC Inlet located

on this (right) side of

power supply

MOUNTED IN A VERTICAL RACK

SIDE VIEW (UNFOLDED)

15

(381)

MOUNTED IN A SLANT-RACK

SIDE VIEW (HALF-FOLDED)

4.85

(124)

3

(77)

11.5

(292)

Knob height= 0.75 (19)

2

(51)

20.25
(515)

USED AS A DESK TOP MIXER

SIDE VIEW

Dimensions shown for the different orientations
Given in inches and (mm)

-to the closest 1/4” or mm -

Weight= 34 lbs (15.5kg) for all orientations
Shipping Weight (boxed)= 40 lbs (18kg)

Typical XLR and TRS plugs

(Shown for reference only)

10

(254)

17.5

(445)

MOUNTED IN A VERTICAL RACK

SIDE VIEW (FOLDED)

ProRack Mounting Options

Balanced Out

M-XLR Pin-2 Hot

POWER SUPPLYPOWER SUPPLY

Wired Pin-to-Pin

Solo Linking Out

5-Pin Circular DIN

w/overall shield to Shell

- Slave Console -

at both ends of the cable.

To ensure correct mixing levels into the Master console,

Solo System is linked between Consoles with a single DIN cable:

Each end fitted with 5-Pin circular DIN connector wired pin-to-pin

all bus output controls on the Slave console should be set to “0” (unity).

with 5 conductor (overall) shielded cable. Shield tied to connector shell

TRS Tip= Hot

Balanced Bus-In

as Master and Slave

Interconnecting two ProRack Mixers

Solo Linking In

Wired Pin-to-Pin

5-Pin Circular DIN

w/overall shield to Shell

6 Auxes, 4 Groups, 4 Main (M, C, L, R)

that will be shared across the 2 consoles.

16-way XLR to 1/4” TRS Audio Snake can be used

14 connections needed to tie all like-buses together

Repeat this connection for each of the Bal-Out / Bus-In pairs

- Master Console -

Solo also monitored from this Mixer

into the Master Console buses at unity gain.

Audio signals from all buses in the Slave Console are mixed

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ProRack-FOH

Track Sheet

DynaSonics

ProRack

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20

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80

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30

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15

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50

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10

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30

45

20

50

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15

80

50

200

20

300

Off

400

0

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0

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200

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0

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9

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0

+

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9

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45

20

50

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15

80

50

200

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15915

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6K

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400

200

1K

Hz

1K5

2K80

Lo

0

+

–

Mid

9

dB

15915

0

+

–

Lo

Freq

9

dB

15915

EQ

Pre

Fdr

On

EQ

3

–

0

6

+

12

1

3

20

6

•

Aux

3

–

0

6

+

12

2

3

20

6

•

Pre

Pre

3

–

0

6

+

12

3

3

20

6

•

Aux

3

–

0

6

+

12

4

3

20

6

•

Stereo

Pre

3

–

0

6

Pan

+

12

5

3

20

6

•

Aux

3

–

0

6

+

12

6

3

20

Lvl

6

•

Pan

8

Mute

Pk

+8

0

-6

12

Sig

10

8

5

+48V

Line

Polarity Pad

+
–

40

Gain

30

45

20

50

65

15

80

50

200

20

300

Off

400

0

+

–

9

Hi

Freq

15915

dB

2K

4K

1K

Hz

6K

8K400

Hi

0

+

–

Mid

9

dB

15915

400

200

1K

Hz

1K5

2K80

Lo

0

+

–

Mid

9

dB

+

–

6
–

6

–

6
–

6

Stereo

–

6

–

6

15915

–

Lo

Freq

9

dB

15915

EQ

Pre

Fdr

On

EQ

0

6

+

12

1

3

20

•

Aux

0

6

+

12

2

3

20

•

Pre

Pre

0

6

+

12

3

3

20

•

Aux

0

6

+

12

4

3

20

•

Pre

0

6

Pan

+

12

5

3

20

•

Aux

0

6

+

12

6

3

20

Lvl

•

Pan

0

=

3

3

3

3

3

3

9

Mute

Pk

+8

0

-6

12

Sig

10

9

5

+48V

Line

Polarity Pad

+
–

40

Gain

30

45

20

50

65

15

80

50

200

20

300

Off

400

0

+

–

9

Hi

Freq

15915

dB

2K

4K

1K

Hz

6K

8K400

Hi

0

+

–

Mid

9

dB

15915

400

200

1K

Hz

1K5

2K80

Lo

0

+

–

Mid

9

dB

+

–

6

–

6

–

6

–

6

Stereo

–

6

–

6

15915

–

Lo

Freq

9

dB

15915

EQ

Pre

Fdr

On

EQ

0

6

+

12

1

3

20

•

Aux

0

6

+

12

2

3

20

•

Pre

Pre

0

6

+

12

3

3

20

•

Aux

0

6

+

12

4

3

20

•

Pre

0

6

Pan

+

12

5

3

20

•

Aux

0

6

+

12

6

3

20

Lvl

•

Pan

0

=

3

3

3

3

3

3

10

Mute

Pk

+8

0

-6

12

Sig

10

5

+48V

Line

40

Gain

45

50

65

200

300

400

0

+

9

Hi

Freq

dB

2K

4K

Hz

6K

8K400

Hi

0

+

Mid

9

dB

1K

Hz

1K5

2K80

Lo

0

+

Mid

9

dB

0

+

Lo

Freq

9

dB

EQ

=

3

–

0

+
3

6

Aux

3

–

0

+
3

6

Pre

3

–

0

+
3

6

Aux

3

–

0

+
3

6

Stereo

3

–

0

Pan

+

5

3

6

Aux

3

–

0

+

6

3

Lvl

6

Pan

11

Polarity Pad

+
–

30

20

50

20

1K

200

Fdr

On

EQ

12

1

20

12

2

20

Pre

12

3

20

12

4

20

Pre

12

20

12

20

40

15

80

Off

0

–

15915

2K

0

–

15915

400

0

–

15915

0

–

15915

=

Pre

3

6

•

3

6

•

3

6

•

3

6

•

3

6

•

3

6

•

65

400

+

8K400
+

2K80

+

+

–

6

–

6

–

6

–

6

Stereo

–

6

–

6

Line

Gain

45

50

200

300

9

Freq

dB

4K

6K

Mid

9

1K

1K5

Lo

Mid

9

Lo

Freq

9

EQ

0

+

3

Aux

0

+

3

Pre

0

+

3

Aux

0

+

3

0

Pan

+

3

Aux

0

+

3

Lvl

Pan

12

Mute

Pk
+8

0

-6
12

Sig

Pk
+8

0

-6
12
Sig

10

121110

5

+48V

Pol-Left

+
–

30

20

15

30

20

15

Hi

80

50

Hz

20

Off

–

Hi

15915

dB

500

Hz

–

dB

15915

–

dB

15915
Pre

Fdr

On

EQ

6

12

1

20

•

6

12

2

20

•

Pre

6

12

3

20

•

6

12

4

20

•

Pre

6

12

5

20

•

6

12

6

20

•

+48V

Stereo

Pad

(Line)

Pol-Left

+
–

40

Gain

30

45

L

20

50

65

40

Stereo

Mono

0

1K

0

0

=

3

3

3

3

3

3

15

Gain

30

45

R

20

50

65

15

RL

HPF HPF HPF HPF

50

200

20

300

Off

400

+

9

Hi

Freq

15915

dB

500

2K

Hz

4K

6K200

Mid

+

9

dB

15915

+

Lo

Freq

9

dB

15915

EQ

Pre

Fdr

On

EQ

–

0

6

+

12

1

3

20

6

•

Aux

–

0

6

+

12

2

3

20

6

•

Pre

Pre

–

0

6

+

12

3

3

20

6

•

Aux

–

0

6

+

12

4

3

20

6

•

Stereo

Pre

–

0

6

L

+

12

5

3

20

6

•

Aux

–

0

6

+

12

6

3

20

R

6

•

Bal

14

Dual-Mono

13

Mute

10

5

Mute

Pk

0

L

Sig

Pk

R

0

Sig

10

13

5

15

Dual-Mono Dual-Mono Dual-Mono

+48V

Stereo Stereo Stereo

Pad

(Line)

Pol-Left

+

–

40

Gain

30

45

L

20

50

65

65

400

+

6K200

+

+

–

6
–

6

–

6
–

6

–

6

–

6

45

50

200

300

9

2K

4K

9

9

EQ

0

0

Pre

0

0

Stereo

0

0

Bal

+
3

+
3

+
3

+
3

+
3

+
3

Gain

Freq

Freq

Aux

Aux

Aux

15

30

R

20

15

RL

50

20

Off

Hi

15915

dB

500

Hz

Mid

dB

15915

Lo

dB

15915
Pre

Fdr

On

EQ

6

12

1

20

•

6

12

2

20

•

Pre

6

12

3

20

•

6

12

4

20

•

Pre

6

L

12

5

20

•

6

12

6

20

R

•

40

Stereo

Stereo

Mono

80

0

–

1K

0

–

0

–

=

3

3

3

3

3

3

14

Mute

Pk

0

L

Sig

Pk

R

0

Sig

10

14

5

16

+48V

Pad

(Line)

Pol-Left

+
–

40

Gain

30

45

L

20

50

65

40

Gain

30

45

R

20

50

65

Stereo

RL

Mono

80

50

200

20

300

Off

400

0

+

–

9

Hi

Freq

15915

dB

1K

500

2K

Hz

4K

6K200

Mid

0

+

–

9

dB

15915

0

+

–

Lo

Freq

9

dB

15915

EQ

=

3

3

3

3

3

3

–

–

–

–

–

–

0

6

0

6

0

6

0

6

Stereo

0

6

0

6

Pre

Fdr

On

EQ

6

+

12

1

3

20

Aux

6

+

12

2

3

20

Pre

Pre

6

+

12

3

3

20

Aux

6

+

12

4

3

20

Pre

6

L

+

12

5

3

20

Aux

6

+

12

6

3

20

R

Bal

15

Mute

Pk

0

L

Sig

Pk

R

0

Sig

10

15

5

Pad

(Line)

Inten

40

Gain

45

L

Monitor Out

50

3

65

15

15

80

–

–

–

•

•

•

•

•

•

40

Stereo

Mono

0

1K

0

0

=

3

3

3

3

3

3

65

400

+

+

+

–

–

–

–

–

–

45

50

200

300

2K

4K

6K200

EQ

0

+

6

0

+

6

Pre

0

+

6

0

+

6

Stereo

0

+

6

0

+

6

Bal

9

9

9

3

3

3

3

3

3

Gain

Aux

Aux

Aux

Freq

Mid

Freq

R

Hi

dB

Hz

dB

Lo

dB

L

5

6

R

RL

On

1

2

3

4

218

C

Stereo Alt Out

3

218

12

20

Aux

1

12

20

Aux

3

12

20

Aux

5

16

Pk

0

L

Sig

Pk

R

0

Sig

16

12V

Lamp

2

Phones

Power

Phones

On

5

6

4

7

9

100

5

4

6

7

9

100

3

–

0

6

10

•

3

–

0

6

10

•

3

–

0

6

10

•

12 34

9
6
3
0
3

6
12
24

MC L R

12 34

Grp
1 2

ProRack

H1020

M

Add

To

L-R

A1

Out

+

6

AFL

A3

Out

+

6

AFL

A5

Out

+

6

AFL

Groups

Meter Select

Solo

Aux
5-6

Str

Sig

10

5

0

5

4

3
218

Ext

In

(Only)

Source

Select

(Mixed)

6

12

20

•

6

12

20

•

6

12

20

•

5

6

7

9

100

M

C

L-R

3

–

A2

0

Out

+

6

10

Aux

2

3

–

A4

0

Out

+

6

10

Aux

4

3

–

A6

0

Out

+

6

10

Aux

6

9
6
3
0
3

6
12
24

Grp

3 4

10

20

30

Group

Level

Group Assign

1234

M

C

L

R

1234

MCLR

10

ML

M

C

L

R

Grp
AFL

Sig

10

-

C

R

DynaSonics

ProRack

H1020

APB-DynaSonics

ProRack-FOH

Track Sheet

G1

G2

G3

G4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

0

5

10

M

15

C

20

L-R

30

1-2

40

3-4

PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL

7 8 9 10 11 12 13 14 15 16

M

C

L-R

1-2

3-4

MCL-R

0

0

5

5

10

10

15

15

20

20

30

30

40

40

Artist

Song

Engineer Date

36

TECHNICAL SPECIFICATIONS

General Specifications

Frequency Response (any input to any output) +0/-0.5dB 20Hz to 20kHz (ref to 1kHz)

THD + Noise (Mic Input to Main Output) <0.01% @ +15dBu output

Phase Response (Mic Input to Main Output) +10/-15 degrees 20Hz to 20kHz (ref to 1kHz)

Noise

Mic EIN -128dBu @ 60dB gain, 150Ω source

Main Bus (L-R-C-M) Output Noise

Group Bus (1-4) Output Noise -85dBu (All Chan assigned w/faders down, Group Master

Aux Bus (1-6) Output Noise -90dBu (Aux Sends down, Aux Master at unity)

Crosstalk (measured at 1KHz)

Channel Mute >100dB

Channel Fader Attenuation >100dB

Channel Routing >80dB

Channel Pan Isolation >80dB

Channel to Channel Isolation >90dB

Aux Send Attenuation >90dB

Aux Pan Isolation >70dB

Input / Output Impedance

Channel XLR Input >3KΩ Balanced (with or without Pad)

Channel Line Input (via TRS) >20KΩ Balanced

Channel Line Input (via XLR w/Pad) >4KΩ Balanced

Channel TRS Direct Out 100Ω Impedance-Balanced

Bus XLR Outputs (Main, Group, Aux) 100Ω Symmetrically-Balanced (To Feed 600Ω or greater)

Channel and Bus Insert Sends/Returns 100Ω Unbalanced / 5KΩ Unbalanced

Monitor TRS Outputs 100Ω Impedance-Balanced

Input / Output Levels

Channel Insert +4dBu (Tip= Send, Ring= Return, Sleeve= Audio Gnd)

Channel Direct Out +4dBu (TRS Impedance Balanced, Tip= “Hot”)

XLR Balanced Outs +4dBu (Symmetrically-Balanced, Pin 2= “Hot”)

TRS Balanced Outs +4dBu (Impedance-Balanced, Tip= “Hot”)

Bus Insert -2dBu (Tip= Send, Ring= Return, Sleeve= Audio Gnd)

-85dBu (All channels assigned w/faders down, Master faders
at unity)

fader at unity)

(To Feed 2kΩ or greater)

Max Out= +22dBu

Max Out= +22dBu

Max Out= +26dBu

Max Out= +22dBu

Max Out= +22dBu

37

APB-DynaSonics ProRack-FOH Owners Manual ver 0.92