Midas PRO X Quick Start Manual

(Visit midasconsoles.com for Full Manual)

Quick Start Guide

PRO X

Live Digital Console Control Centre and Audio System Engine with 168 Input Channels, 99 Mix Buses and 96 kHz Sample Rate

A54-00001-28765

2 PRO X

Terminals marked withthis symbol carryelectrical currentof su cient

magnitude to constitute risk of electric shock. Useonly high-quality commercially-available speaker cables with plugs pre-installed. Allother installation or modi cation should be performed only by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the enclosure-voltage that may be su cient to constitute a risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to quali ed personnel.

Caution

To reduce the risk of  re or electric shock ,

do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects  lled with liquids, suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed ser vice personnel only. Toreduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by quali ed servicepersonnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampli ers) that produce heat.

9. 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 are provided for your safety. Ifthe provided plug does not  t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by themanufacturer.

12. Use only with the cart, stand, tripod, bracket, or table speci ed 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.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to quali ed service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been 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.

15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

17. Correct disposal of this product: This symbol indicates that this product must not be disposed of with household waste, according to the WEEE Directive (2012/19/EU) and your national

law. This product should be taken to a collection center licensed for the recycling of waste electrical and electronic equipment (EEE). The mishandling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the e cient use of natural resources. For more information about where you can take your waste equipment for recycling, please contact your local city o ce, or your household waste collection service.

MUSIC Group accepts no liability for any loss which may be su ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical speci cations, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, TURBOSOUND, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 201 All rights reserved.

For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s Limited Warranty, please see complete details online at music-group.com/warranty.

Important Safety Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

Quick Start Guide 3

Las terminales marcadas con este símbolo transportan corriente eléctrica de

magnitud su ciente como para constituir un riesgo de descarga eléctrica. Utilice solo cables de altavozde alta calidad con clavijas TSde6,3mm pre-instaladas (puedeadquirirlos en comercios especializados en audio). Cualquierotra instalación o modi cación debe ser realizada únicamente por un técnico cuali cado.

Este símbolo, siempre que aparece,

leadvierte de la presencia de voltaje

peligroso sin aislar dentro de la caja; estevoltaje puede ser su ciente para constituir un riesgo dedescarga.

Este símbolo, siempre que aparece,

leadvierte sobre instrucciones operativas

y de mantenimiento que aparecen en la documentación adjunta. Por favor, lea el manual.

Atención

Para reducir el riesgo de descarga

eléctrica, no quite la tapa (o la parte posterior). No hay piezas en el interior del equipo que puedan ser reparadas por el usuario. Si es necesario, póngase en contacto con personal cuali cado.

Atención

Para reducir el riesgo de incendio o

descarga eléctrica, no exponga este aparato a la lluvia, humedad o alguna otra fuente que pueda salpicar o derramar algún líquido sobre el aparato. Nocoloque ningún tipo de recipiente para líquidos sobre el aparato.

Atención

Las instrucciones de servicio deben

llevarlas a cabo exclusivamente personal cuali cado. Para evitar el riesgo de una descarga eléctrica, no realice reparaciones que no se encuentren descritas en el manual de operaciones. Lasreparaciones deben ser realizadas exclusivamente por personalcuali cado.

1. Lea las instrucciones.

2. Conserve estas instrucciones.

3. Preste atención a todas las advertencias.

4. Siga todas las instrucciones.

5. No use este aparato cerca del agua.

6. Limpie este aparato con un paño seco.

7. No bloquee las aberturas de ventilación. Instale el

equipo de acuerdo con las instrucciones del fabricante.

8. No instale este equipo cerca de fuentes de calor tales como radiadores, acumuladores de calor, estufas u otros aparatos (incluyendo ampli cadores) que puedan producir calor.

9. No elimine o deshabilite nunca la conexión a tierra del aparato o del cable de alimentación de corriente. Unenchufe polarizado tiene dos polos, uno de los cuales tiene un contacto más ancho que el otro. Una clavija con puesta a tierra dispone de tres contactos: dos polos y la puesta a tierra. El contacto ancho y el tercer contacto, respectivamente, son los que garantizan una mayor seguridad. Si el enchufe suministrado con el equipo no concuerda con la toma de corriente, consulte con un electricista para cambiar la toma de corriente obsoleta.

10. Coloque el cable de suministro de energía de manera que no pueda ser pisado y que esté protegido de objetos a lados. Asegúrese de que el cable de suministro de energía esté protegido, especialmente en la zona de la clavija y en el punto donde sale del aparato.

11. Use únicamente los dispositivos o accesorios especi cados por el fabricante.

12. Use únicamente la carretilla, plataforma, trípode, soporte o mesa especi cados por el fabricante o suministrados junto con el equipo. Altransportar el equipo, tenga cuidado para evitar

daños y caídas al tropezar con algún obstáculo.

13. Desenchufe el equipo durante tormentas o si no va a utilizarlo durante un periodo largo.

14. Confíe las reparaciones únicamente a servicios técnicos cuali cados. La unidad requiere mantenimiento siempre que haya sufrido algún daño, si el cable de suministro de energía o el enchufe presentaran daños, sehubiera derramado un líquido o hubieran caído objetos dentro del equipo, si el aparato hubiera estado expuesto a la humedad o la lluvia, si ha dejado de funcionar de manera normal o si ha sufrido algún golpe o caída.

15. Al conectar la unidad a la toma de corriente eléctrica asegúrese de que la conexión disponga de una unión atierra.

16. Si el enchufe o conector de red sirve como único medio de desconexión, éste debe ser accesiblefácilmente.

17. Cómo debe deshacerse de este aparato: Este símbolo indica que este aparato no debe ser tratado como basura orgánica, según lo indicado en la Directiva WEEE (2012/19/EU) y a las

normativas aplicables en su país. En lugar de ello deberá llevarlo al punto limpio más cercano para el reciclaje de sus elementos eléctricos/ electrónicos (EEE). Al hacer esto estará ayudando a prevenir las posibles consecuencias negativas para el medio ambiente y la salud que podrían ser provocadas por una gestión inadecuada de este tipo de aparatos. Además, el reciclaje de materiales ayudará a conservar los recursos naturales. Para más información acerca del reciclaje de este aparato, póngase en contacto con el Ayuntamiento de su ciudad o con el punto limpio local.

MUSIC Group no admite ningún tipo de responsabilidad por cualquier daño o pérdida que pudiera sufrir cualquier persona por con ar total o parcialmente en la descripciones, fotografías o a rmaciones contenidas en este documento. Las especi caciones técnicas, imágenes y otras informaciones contenidas en este documento están sujetas a modi caciones sin previo aviso. Todas las marcas comerciales que aparecen aquí son propiedad de sus respectivos dueños. MIDAS, KLARK TEKNIK, TURBOSOUND, BEHRINGER, BUGERA y DDA son marcas comerciales o marcas registradas de MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 201 Reservados todos los derechos.

Si quiere conocer los detalles y condiciones aplicables de la garantía así como información adicional sobre la Garantía limitada de MUSIC group, consulte online toda la información en la web music-group.com/warranty.

Instrucciones de seguridad

NEGACIÓN LEGAL

GARANTÍA LIMITADA

4 PRO X

Les points repérés par ce symbole portent une tension électrique su sante pour

constituer un risque d’électrocution. Utilisez uniquement des câbles d’enceintes de haute qualité disponibles dans les points de vente avec les connecteurs Jack mono 6,35 mm déjà installés. Touteautre installation ou modi cation doit être e ec tuée uniquement par un personnel quali é.

Ce symbole avertit de la présence d’une

tension dangereuse et non isolée à

l’intérieur de l’appareil - elle peut provoquer des chocs électriques.

Attention

Ce symbol signale les consignes

d’utilisation et d’entre ! Tien importantes dans la documentation fournie. Lisez les consignes de sécurité du manuel d’utilisation de l’appareil.

Attention

Pour éviter tout risque de choc électrique,

ne pas ouvrir le capot de l’appareil ni démonter le panneau arrière. L’intérieur de l’appareil ne possède aucun élément réparable par l’utilisateur. Laissertoute réparation à un professionnel quali é.

Attention

Pour réduire les risques de feu et de choc

électrique, n’exposez pas cet appareil à la pluie, à la moisissure, aux gouttes ou aux éclaboussures. Ne posez pas de récipient contenant un liquide sur l’appareil (un vase par exemple).

Attention

Ces consignes de sécurité et d’entretien

sont destinées à un personnel quali é. Pouréviter tout risque de choc électrique, n’e ectuez aucune réparation sur l’appareil qui ne soit décrite par le manuel d’utilisation. Les éventuelles réparations doivent être e ectuées uniquement par un technicien spécialisé.

1. Lisez ces consignes.

2. Conservez ces consignes.

3. Respectez tous les avertissements.

4. Respectez toutes les consignes d’utilisation.

5. N’utilisez jamais l’appareil à proximité d’un liquide.

6. Nettoyez l’appareil avec un chi on sec.

7. Veillez à ne pas empêcher la bonne ventilation de

l’appareil via ses ouïes de ventilation. Respectezles consignes du fabricant concernant l’installation del’appareil.

8. Ne placez pas l’appareil à proximité d’une source de chaleur telle qu’un chau age, une cuisinière ou tout appareil dégageant de la chaleur (y compris un ampli depuissance).

9. Ne supprimez jamais la sécurité des prises bipolaires ou des prises terre. Les prises bipolaires possèdent deux contacts de largeur di érente. Leplus large est le contact de sécurité. Les prises terre possèdent deux contacts plus une mise à la terre servant de sécurité. Si la prise du bloc d’alimentation ou du cordon d’ali-mentation fourni ne correspond pas à celles de votre installation électrique, faites appel à un électricien pour e ec tuer le changement de prise.

10. Installez le cordon d’alimentation de telle façon que personne ne puisse marcher dessus et qu’il soit protégé d’arêtes coupantes. Assurez-vous que le cordon d’alimentation est sufsamment protégé, notamment au niveau de sa prise électrique et de l’endroit où il est relié à l’appareil; cela est également valable pour une éventuelle rallonge électrique.

11. Utilisez exclusivement des accessoires et des appareils supplémentaires recommandés par lefabricant.

12. Utilisez exclusivement des chariots, des diables, desprésentoirs, despieds et des surfaces de travail recommandés par le fabricant ou

livrés avec le produit. Déplacezprécautionneusement tout chariot ou diable chargé pour éviter d’éventuelles blessures en cas dechute.

13. Débranchez l’appareil de la tension secteur en cas d’orage ou si l’appareil reste inutilisé pendant une longue période de temps.

14. Les travaux d’entretien de l’appareil doivent être e ectués uniquement par du personnel qualié. Aucunentretien n’est nécessaire sauf si l’appareil est endommagé de quelque façon que ce soit (dommagessur le cordon d’alimentation ou la prise par exemple), siun liquide ou un objet a pénétré à l’intérieur du châssis, si l’appareil a été exposé à la pluie ou à l’humidité, s’il ne fonctionne pas correctement ou à la suite d’une chute.

15. L’appareil doit être connecté à une prise secteur dotée d’une protection par mise à la terre.

16. La prise électrique ou la prise IEC de tout appareil dénué de bouton marche/arrêt doit rester accessible enpermanence.

17. Mise au rebut appropriée de ce produit: Ce symbole indique qu’en accord avec la directive DEEE (2012/19/EU) et les lois en vigueur dans votre pays, ce produit ne doit pas être jeté avec les déchets

ménagers. Ce produit doit être déposé dans un point de collecte agréé pour le recyclage des déchets d’équipements électriques et électroniques (EEE). Une mauvaise manipulation de ce type de déchets pourrait avoir un impact négatif sur l’environnement et la santé à cause des substances potentiellement dangereuses généralement associées à ces équipements. En même temps, votre coopération dans la mise au rebut de ce produit contribuera à l’utilisation e cace des ressources naturelles. Pour plus d’informations sur l’endroit où vous pouvez déposer vos déchets

d’équipements pour le recyclage, veuillez contacter votre mairie ou votre centre local de collecte des déchets.

MUSIC Group ne peut être tenu pour responsable pour toute perte pouvant être subie par toute personne se  ant en partie ou en totalité à toute description, photographie ou a rmation contenue dans ce document. Les caractéristiques, l’apparence et d’autres informations peuvent faire l’objet de modi cations sans noti cation. Toutes les marques appartiennent à leurs propriétaires respectifs. MIDAS, KLARK TEKNIK, TURBOSOUND, BEHRINGER, BUGERA et DDA sont des marques ou marques déposées de MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 201 Tous droits réservés.

Pour connaître les termes et conditions de garantie applicables, ainsi que les informations supplémentaires et détaillées sur la Garantie Limitée de MUSIC Group, consultez le site Internet music-group.com/warranty.

Consignes de sécurité

DÉNI LÉGAL

GARANTIE LIMITÉE

Quick Start Guide 5

Vorsicht

Die mit dem Symbol markierten

Anschlü sse fü hren so viel Spannung, dass die Gefahr eines Stromschlags besteht. Verwenden Sie nur hochwertige, im Handel erhältliche Lautsprecherkabel mit vorinstallierten 6,3 mm TSSteckern. Alle anderen Installationen oder Modi kationen sollten nur von quali ziertem Fachpersonal ausgefü hrt werden.

Achtung

Um eine Gefährdung durch Stromschlag

auszuschließen, darf die Geräteabdeckung bzw. Geräterückwand nicht abgenommen werden. ImInnern des Geräts be nden sich keine vom Benutzer reparierbaren Teile. Reparaturarbeiten dürfen nur von quali zier tem Personal ausgeführt werden.

Achtung

Um eine Gefährdung durch Feuer bzw.

Stromschlag auszuschließen, darf dieses Gerät weder Regen oder Feuchtigkeit ausgesetzt werden noch sollten Spritzwasser oder tropfende Flüssigkeiten in das Gerät gelangen können. Stellen Sie keine mit Flüssigkeit gefüllten Gegenstände, wie z. B. Vasen, aufdasGerät.

Achtung

Die Service-Hinweise sind nur durch

quali zier tes Personal zu befolgen. Umeine Gefährdung durch Stromschlag zu vermeiden, führen Sie bitte keinerlei Reparaturen an dem Gerät durch, die nicht in der Bedienungsanleitung beschrieben sind. Reparaturen sind nur von quali ziertem Fachpersonaldurchzuführen.

1. Lesen Sie diese Hinweise.

2. Bewahren Sie diese Hinweise auf.

3. Beachten Sie alle Warnhinweise.

4. Befolgen Sie alle Bedienungshinweise.

5. Betreiben Sie das Gerät nicht in der Nähe vonWasser.

6. Reinigen Sie das Gerät mit einem trockenen Tuch.

7. Blockieren Sie nicht die Belüftungsschlitze. Beachten

Sie beim Einbau des Gerätes die Herstellerhinweise.

8. Stellen Sie das Gerät nicht in der Nähe von Wärmequellen auf. Solche Wärmequellen sind z. B. Heizkörper, Herde oder andere Wärme erzeugende Geräte (auch Verstärker).

9. Entfernen Sie in keinem Fall die Sicherheitsvorrichtung von Zweipol- oder geerdeten Steckern. Ein Zweipolstecker hat zwei unterschiedlich breite Steckkontakte. Ein geerdeter Stecker hat zwei Steckkontakte und einen dritten Erdungskontakt. Derbreitere Steckkontakt oder der zusätzliche Erdungskontakt dient Ihrer Sicherheit. Falls das

mitgelieferte Steckerformat nicht zu Ihrer Steckdose passt, wenden Sie sich bitte an einen Elektriker, damit die Steckdose entsprechend ausgetauscht wird.

10. Verlegen Sie das Netzkabel so, dass es vor Tritten und scharfen Kanten geschützt ist und nicht beschädigt werden kann. Achten Sie bitte insbesondere im Bereich der Stecker, Verlängerungskabel und an der Stelle, an der das Netzkabel das Gerät verlässt, aufausreichendenSchutz.

11. Das Gerät muss jederzeit mit intaktem Schutzleiter an das Stromnetz angeschlossen sein.

12. Sollte der Hauptnetzstecker oder eine Gerätesteckdose die Funktionseinheit zum Abschalten sein, muss diese immer zugänglich sein.

13. Verwenden Sie nur Zusatzgeräte/Zubehörteile, dielaut Hersteller geeignet sind.

14. Verwenden Sie nur Wagen, Standvorrichtungen, Stative, Halter oder Tische, die vom Hersteller benannt oder im Lieferumfang des Geräts enthalten

sind. Falls Sie einen Wagen benutzen, seien Sie vorsichtig beim Bewegen der Wagen- Gerätkombination, umVerletzungen durch Stolpern zuvermeiden.

15. Ziehen Sie den Netzstecker bei Gewitter oder wenn Sie das Gerät längere Zeit nicht benutzen.

16. Lassen Sie alle Wartungsarbeiten nur von quali zier tem Service-Personal ausführen. EineWartung ist notwendig, wenn das Gerät in irgendeiner Weise beschädigt wurde (z. B. Beschädigung des Netzkabels oder Steckers), Gegenstände oder Flüssigkeit in das Geräteinnere gelangt sind, das Gerät Regen oder Feuchtigkeit ausgesetzt wurde, das Gerät nicht ordnungsgemäß funktioniert oder auf den Boden gefallen ist.

17. Korrekte Entsorgung dieses Produkts: Dieses Symbol weist darauf hin, das Produkt entsprechend der WEEE Direktive (2012/19/EU) und der jeweiligen nationalen Gesetze nicht

zusammen mit Ihren Haushaltsabfällen zu entsorgen. DiesesProdukt sollte bei einer autorisierten Sammelstelle für Recycling elektrischer und elektronischer Geräte (EEE) abgegeben werden. Wegen bedenklicher Substanzen, diegenerell mit elektrischen und elektronischen Geräten in Verbindung stehen, könnte eine unsachgemäße Behandlung dieser Abfallart eine negative Auswirkung auf Umwelt und Gesundheit haben. Gleichzeitig gewährleistet Ihr Beitrag zur richtigen Entsorgung dieses Produkts die e ektive Nutzung natürlicher Ressourcen. Fürweitere Informationen zur Entsorgung Ihrer Geräte bei einer Recycling-Stelle nehmen Sie bitte Kontakt zum zuständigen städtischen Büro, Entsorgungsamt oder zu Ihrem Haushaltsabfallentsorgerauf.

MUSIC Group übernimmt keine Haftung für Verluste, die Personen entstanden sind, die sich ganz oder teilweise auf hier enthaltene Beschreibungen, Fotos oder Aussagen verlassen haben. Technische Daten, Erscheinungsbild und andere Informationen können ohne vorherige Ankündigung geändert werden. Alle Warenzeichen sind Eigentum der jeweiligen Inhaber. MIDAS, KLARK TEKNIK, TURBOSOUND, BEHRINGER, BUGERA und DDA sind Warenzeichen oder eingetragene Warenzeichen der MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 201 Alle Rechte vorbehalten.

Die geltenden Garantiebedingungen und zusätzliche Informationen bezüglich der von MUSIC Group gewährten beschränkten Garantie  nden Sie online unter music-group.com/warranty.

Wichtige Sicherheitshinweise

HAFTUNGSAUSSCHLUSS

BESCHRÄNKTE GARANTIE

6 PRO X

Aviso!

Terminais marcados com o símbolo

carregam corrente elétrica de magnitude su ciente para constituir um risco de choque elétrico. Use apenas cabos de alto-falantes comercialmente disponíveis de alta qualidade com plugues TS de ¼ " pré-instalados. Todas as outras instalações e modi cações devem ser efetuadas por pessoas quali cadas.

Este símbolo, onde quer que o encontre,

alerta-o para a leitura das instruções de

manuseamento que acompanham o equipamento. Por favor leia o manual de instruções.

Atenção

De forma a diminuir o risco de choque

eléctrico, não remover a cobertura (ouasecção de trás). Não existem peças substituíveis por parte do utilizador no seu interior. Para esse efeito recorrer a um técnico quali cado.

Atenção

Para reduzir o risco de incêndios ou

choques eléctricos o aparelho não deve ser exposto à chuva nem à humidade. Além disso, não deve ser sujeito a salpicos, nem devem ser colocados em cima do aparelho objectos contendo líquidos, tais como jarras.

Atenção

Estas instruções de operação devem ser

utilizadas, em exclusivo, por técnicos de assistência quali cados. Para evitar choques eléctricos não proceda a reparações ou intervenções, que não as indicadas nas instruções de operação, salvo se possuir as quali - cações necessárias. Para evitar choques eléctricos não proceda a reparações ou intervenções, que não as indicadas nas instruções de operação. Só o deverá fazer se possuir as quali cações necessárias.

1. Leia estas instruções.

2. Guarde estas instruções.

3. Preste atenção a todos os avisos.

4. Siga todas as instruções.

5. Não utilize este dispositivo perto de água.

6. Limpe apenas com um pano seco.

7. Não obstrua as entradas de ventilação. Instale de

acordo com as instruções do fabricante.

8. Não instale perto de quaisquer fontes de calor tais como radiadores, bocas de ar quente, fogões de sala ou outros aparelhos (incluindo ampli cadores) que produzam calor.

9. Não anule o objectivo de segurança das  chas polarizadas ou do tipo de ligação à terra. Uma  cha polarizada dispõe de duas palhetas sendo uma mais larga do que a outra. Uma  cha do tipo ligação à terra dispõe

de duas palhetas e um terceiro dente de ligação à terra. A palheta larga ou o terceiro dente são fornecidos para sua segurança. Se a  cha fornecida não encaixar na sua tomada, consulte um electricista para a substituição da tomada obsoleta.

10. Proteja o cabo de alimentação de pisadelas ou apertos, especialmente nas  chas, extensões, e no local de saída da unidade. Certi que -se de que o cabo eléctrico está protegido. Veri que particularmente nas  chas, nos receptáculos e no ponto em que o cabo sai doaparelho.

11. O aparelho tem de estar sempre conectado à rede eléctrica com o condutor de protecção intacto.

12. Se utilizar uma  cha de rede principal ou uma tomada de aparelhos para desligar a unidade de funcionamento, esta deve estar sempre acessível.

13. Utilize apenas ligações/acessórios especi cados pelofabricante.

14. Utilize apenas com o carrinho, estrutura, tripé, suporte, ou mesa especi cados pelo fabricante ou vendidos com o dispositivo. Quandoutilizar um

carrinho, tenha cuidado ao mover o conjunto carrinho/dispositivo para evitar danos provocados pela terpidação.

15. Desligue este dispositivo durante as trovoadas ou quando não for utilizado durante longos períodos detempo.

16. Qualquer tipo de reparação deve ser sempre efectuado por pessoal quali cado. É necessária uma reparação sempre que a unidade tiver sido de alguma forma dani cada, como por exemplo: no caso do cabo de alimentação ou  cha se encontrarem dani cados; naeventualidade de líquido ter sido derramado ou objectos terem caído para dentro do dispositivo; no caso da unidade ter estado exposta à chuva ou à humidade; seesta não funcionar normalmente, ou se tiver caído.

17. Correcta eliminação deste produto: este símbolo indica que o produto não deve ser eliminado juntamente com os resíduos domésticos, segundo a Directiva REEE (2012/19/EU) e a legislação

nacional. Este produto deverá ser levado para um centro de recolha licenciado para a reciclagem de resíduos de equipamentos eléctricos e electrónicos (EEE). O tratamento incorrecto deste tipo de resíduos pode ter um eventual impacto negativo no ambiente e na saúde humana devido a substâncias potencialmente perigosas que estão geralmente associadas aos EEE. Ao mesmo tempo, a sua colaboração para a eliminação correcta deste produto irá contribuir para a utilização e ciente dos recursos naturais. Paramais informação acerca dos locais onde poderá deixar o seu equipamento usado para reciclagem, é favor contactar os serviços municipais locais, a entidade de gestão de resíduos ou os serviços de recolha de resíduosdomésticos.

O MUSIC Group não se responsabiliza por perda alguma que possa ser sofrida por qualquer pessoa que dependa, seja de maneira completa ou parcial, de qualquer descrição, fotogra a, ou declaração aqui contidas. Dados técnicos, aparências e outras informações estão sujeitas a modi cações sem aviso prévio. Todas as marcas são propriedade de seus respectivos donos. MIDAS, KLARK TEKNIK, TURBOSOUND, BEHRINGER, BUGERA e DDA são marcas ou marcas registradas do MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 201 Todos direitos reservados.

Para obter os termos de garantia aplicáveis e condições e informações adicionais a respeito da garantia limitada do MUSIC group, favor veri car detalhes na íntegra através do website music-group.com/warranty.

Instruções de Segurança Importantes

LEGAL RENUNCIANTE

GARANTIA LIMITADA

Quick Start Guide 7

注意

感電の.恐れがありますので、カ

バーやその他の部品を取り外したり、開けたりしないでください。高品質なプロ用スピーカーケーブル（

¼" T S標準

ケーブルおよびツイストロッキングプラグケーブル）を使用してください。

注意

火事および感電の危険を防ぐ

ため、本装置を水分や湿気のあるところには設置しないで下さい。装置には決して水分がかからないように注意し、花瓶など水分を含んだものは、装置の上には置かないようにしてください。

注意

このマークが表示されている

箇所には、内部に高圧電流が生じています。手を触れると感電の恐れがあります。

注意

取り扱いとお手入れの方法に

ついての重要な説明が付属の取扱説明書に記載されています。ご使用の前に良くお読みください。

注意

1. 取扱説明書を通してご覧ください。

2. 取扱説明書を大切に保管してくだ

さい。

3. 警告に従ってください。

4. 指示に従ってください。

5. 本機を水の近くで使用しないでくだ

さい。

6. お手入れの際は常に乾燥した布巾を使

ってください。

7. 本機は、取扱説明書の指示に従い、

適切な換気を妨げない場所に設置してください。取扱説明書に従って設置してください。

8. 本機は、電気ヒーターや温風機器、

ストーブ、調理台やアンプといった熱源から離して設置してください。

9. ニ極式プラグおよびアースタイプ

(三芯)プラグの安全ピンは取り外さないでください。ニ極式プラグにはピンが二本ついており、そのうち一本はもう一方よりも幅が広くなっています。アースタイプの三芯プラグにはニ本のピンに加えてアース用のピンが一本ついています。これらの幅の広いピン、およびアースピンは、安全のためのものです。備え付けのプラグが、お使いのコンセントの形状と異なる場合は、電器技師に相談してコンセントの交換をして下さい。

10. 電源コードを踏みつけたり、挟んだり

しないようご注意ください。電源コードやプラグ、コンセント及び製品との接続には十分にご注意ください。

11. すべての装置の接地(アース)が確保

されていることを確認して下さい。

12. 電源タップや

電源プラグは電源遮断機として利用されている場合には、これが直ぐに操作できるよう手元に設置して下さい。

13. 付属品は本機製造元が指定したもの

のみをお使いください。

14. カートスタンド、三脚、ブラケット、

テーブルなどは、本機製造元が指定したもの、もしくは本機の付属品となるもののみをお使いください。カートを使用しての運搬の際は、器具の落下による怪我に十分ご注意ください。

15. 雷雨の場合、もしくは長期間ご使用に

ならない場合は、電源プラグをコンセントから抜いてください。

16. 故障の際は当社指定のサービス技術

者にお問い合わせください。電源コードもしくはプラグの損傷、液体の装置内への浸入、装置の上に物が落下した場合、雨や湿気に装置が晒されてしまった場合、正常に作動しない場合、もしくは装置を地面に落下させてしまった場合など、いかなる形であれ装置に損傷が加わった場合は、装置の修理・点検を受けてください。

17. 本製品に電源コード

が付属されている場合、付属の電源コードは本製品以外ではご使用いただけません。電源コードは必ず本製品に付属された電源コードのみご使用ください。

ここに含まれる記述、写真、意見の全体または一部に依拠して、いかなる人が損害を生じさせた場合にも、 

MUSIC Groupは一切の賠償責任を負いま

せん。技術仕様、外観およびその他の情報は予告なく変更になる場合があります。商標はすべて、それぞれの所有者に帰属します。MIDAS 、KLARK TEKNIK、

TURBOSOUND、BEHRINGER、BUGERAおよ

び

DDAはMUSIC Group IP Ltd.の商標ま

たは登録商標です。© MUSIC Group IP Ltd.

201無断転用禁止。

適用される保証条件と

MUSIC Groupの限定

保証に関する概要については、オンライン上

music-group.com/warrantyにて詳細をご確

認ください。

安全にお使いいただくために

限定保証

法的放棄

8 PRO X

ࣝధ൦ಗ঄ᄋጽቬ᝻ܭЧధ ܹᄋႄุߜڛᝐႄԁᬘǎᬎ Ώၺࣝధ

¼ '' TSᩛତ݁

ᄋᰵַ᠐˅ˋܧ٩ጴǎధᄋ߸ᜊួ ஠ڪᮍႁՍಬᄋ˅ˋցᤊᛢǎ

൦ಗ঄ଣᧉ১ַаߜڛఴ ፑᎇᄋԁᬘႄԎధᝐႄԁᬘǎ

൦ಗ঄ଣᧉ১ಋ󰪀ᬅᄋ᧙᜷ ᄋΏၺԤ፦οឮ௛ǎឱ󰪀឵ధ Угǎ

࠶

˟ᥙГᝐႄԁᬘឱӉ఼

ᮈᄧᑁ᭨૖ౝǎ᝻ܭа෦ ధԼΚၺ፦οΏၺᄋᦋǎឱ࠳፦ο ᮋႁՍಬᄋ˅ˋցᤊᛢǎ

࠶

˟ᥙГᅍ༣ᝐႄԁᬘឱӉ

࠳൦᝻ܭᎷᭂ๹໾ິ˘ǎ ൦᝻ܭ˸ˁԼԫ๰͵໠ຶᄪధ๰͵ᄋࠕ ٩˸ˁԼᎷЦʾݡᔊၬ኏ǎ

࠶

፦οឮ௛௨ፍՍಬᄋ˅ˋ፦

οցΏၺ ᄋǎ˟ᥙГᝐႄԁ ᬘᬕΏၺឮ௛˻ଣ҃ᄋܲឱӉᤊᛢ ͶЦ߳፦οǎధ፦οڪᮍႁՍಬᄋ˅ ˋցᤊᛢǎ

1. ឱ󰪀឵ᤉឮ௛ǎ

2. ឱݱؔεߜᤉឮ௛ǎ

3. ឱญధᄋ᝞ᇩǎ

4. ឱᥗ߷ధᄋឮ௛ǎ

5. ឱӉڛ᭦ᤄබᄋڢஶΏၺశַǎ

6. ឱၺࣱ࣌ຎพశַǎ

7. ឱӉ܅܌ᤱ᮴Աǎ߸ᜊశַ௒ឱᥗ

ཱིԉࠓᄋឮ௛ǎ

8. ឱӉ࠳శַ߸ᜊڛམ຺ᬅᤄ

ݡ఍ජྠ༰ߖЦ߳ၸམ᧛ᄋ᝻ܭ Ӌ઻ҫ஋٩ǎ

9. ឱӉሩᬕ౞মତ݁଍ڢତ݁ᄋ߸М

ᜊᎷǎ଍ڢତ݁௨ႁˑ˕ତ܌଍གྷԤʸ˕ ଍ڢ݁౟ǎᔫᬥ᠏ଣΚᄋତ݁ˁᤡՍ১ ᄋତឱႄࢻట૲ʸ˕Սᤡᄋତǎ

10. ݱؔεઑႄ຺ጴΏЦˁᜃ᡼ᢇ҉

ᆢࡀЦญႄ຺ତ݁Ǎܴၺ᤮ତԤ᝻ܭ ᤍ଍ܬǎ

11. ឱԷΏၺԉࠓ૊ࠁᄋᬅ࡜᝻ܭ֘

ᦢǎ

12. ឱԷΏၺԉࠓ

૊ࠁᄋᬥ᠏ᩚ ׭ᄋଏᢽ౷ߖ ʽᝉ౷஄౷֘ಹ ߖǎᔫΏၺଏᢽ ౐ୄᤃ᝻ܭឱญ ߸М஋Ꮇ᝻ܭ ᥙГଏᢽ֘᝻

ܭϛωᏬԫǎ

13. ᥆󰩧ႄᭈᲟ󰩤ఱˁΏၺశ᝻ܭ௒

ឱફѤႄ຺ତ݁ǎ

14. ధ፦οڪᮍႁՍಬᄋ፦οցᤊ

ᛢǎ᝻ܭԫ૰௒ᭋᤊᛢ፦οΔݡႄ຺ጴ ႄ຺ତ݁ԫ૰๰͵ุЛྮᗁЛ᝻ܭ а᝻ܭᥔᭂ๹ԫ໾᝻ܭˁᑠ൥ࣣᤃͼ ᜃ୒گǎ

15. శ᝻ܭᤍ଍ႄ຺௒ʸࠁ᜷ధ଍ڢ

εઑǎ

16. ᔫႄ຺ତ݁٩Ч

ᏺՍ٩ၺͼளႄᜊᎷ ε᝾߳ܬᬥ௒Լ ஶΨ୳ͼ࿅ঘǎ

17. శַᤡၺ๓

ફ2000ዜʿڢӞశ ַᤡၺ᭥མࣝජό౏ ʿǎ

ࠬͶڃڛ൦ឮ௛˻ଣ҃ᄋМᦋ ᦋଢᤙǍڐྠܧ௛Ꮼᤶᄋ૰ ݀MUSIC Groupˁ᠈Ͷ᠋ǎ઀స ԡஞ֘ܲ᜻ᔫధటஉিˁԴᛢᤱ ᅽǎధᄋ׹ಗڪ˟ЦՋᒮధᏩᄋ ᠊ǎ

MIDASKLARK TEKNIKTURBOSOUND BEHRINGERBUGERA֘DDA௨MUSIC Group IP Ltd.ОՄᄋ׹ಗญг׹ಗǎ© MUSIC Group IP Ltd. 201

ྡీధǎ

ధУᮄˮᬸڅεοᄋᤡၺ౏൝ԤЦ߳ᄲУ θ্ឱᄇᬇ

music-group.com/warrantyᎫቤಋ

ᄻߺ஠ᄋឡጻθ্ǎ

其他的重要信息

保修条款

法律声明

Quick Start Guide 9

10 PRO X

Overview

Introduction

Welcome to the PRO X Live Audio System. The PRO X is a user-friendly, state-ofthe-art, high per formance digital console speci cally designed for live use.

The control centre, which forms an integral part of its Live Audio System, was conceived by MIDAS to o er audio professionals high-performance audio equipment, designed to provide no-compromise sonic quality with a feature set that o er s all essential facilities and functions. It represent s the very best of British design and engineering combined with contemporar y, e cient manufacturing methods, and will give you many years of reliable service.

So, to obtain the best results with a minimum of e ort, please read this Quick Start Guide and,  nally, enjoy your MIDAS PRO X Live Audio System!

About This Guide

This is the Quick Start Guide for the PRO X Live Audio System. Its purpose is to quickly familiarise the user with the control centre, show how to set up the system and then show how to carr y out some basic operations on the control centre in order to produce some audio. This guide is struc tured such that it may also provide a useful introduc tory guide for training purposes.

This document is aimed at professionals, such as front of house (FOH) and monitor (MON) engineers, who will be using this equipment in a live performance environment. It is assumed that the reader has prior experience of using professional audio equipment and has, most likely, undergone training on this system.

This guide has been designed speci cally so that mix engineers and system technicians can go straight to the areas applicable to them, that is, Operation and Connecting And Setting Up The System. The rest of the guide is intended for general readership.

For full details of the PRO X Live Audio System, refer to the PRO X Live Audio System Owner’s Manual, which can be found on our website at midasconsoles.com.

NOTE: The content of this guide does not supersede any information supplied with any other item of this PRO Series Live Audio System.

PRO X Host Software Version

Our team of software engineers is constantly working to ensure that you get the most from the PRO X Live Audio System host sof tware, so please ensure that you have the latest version installed on your PRO X by visiting the downloads page on midasconsoles.com

Warranty & Registration

MIDAS has total con dence in the qualit y and reliability of this product. To back this up, this product comes with the standard MIDAS three year warranty.

Please take the time to register your product by completing and returning the registration card or by registering on our website at midasconsoles.com.

Service & Support

The PRO Series Live Audio Systems are very hi-tech pieces of equipment. We provide superb levels of support and ser vice to give users con dence in MIDAS digital products.

The PRO X Live Audio System

Introducing The PRO X

With their exemplary audio per formance and road-proven rugged and reliable construction, the MIDAS PRO Series has become the gold standard in concer t touring and installed live sound. Employing technologies developed from the class-leading and visionary  agship MIDAS XL8 console, and o ering the same outstanding sample-synchronised and phase-coherent audio performance, interpolated control func tions and intuitive navigation, the PRO3, PRO6 and PRO9 Live Audio Systems have become the industry’s go-to choice for live sound reinforcement consoles.

Now the PRO Series family moves up a gear with the PRO X Live Audio System and the industry-changing NEUTRON Audio System Engine. Featuring 168 simultaneous input channels and 99 time-aligned and phase-coherent buses with no trade-o s in channel or bus counts.

True and consistent 96 kHz sampling frequency and 4 0 bit  oating point processing provide exemplary quality audio processing, and the over sampled and interpolated digital signal processing algorithms, combined with the fully interpolated and touch sensitive user controls, result in the smooth continuous response and immediacy of working on an analogue console. Parameter adjustment becomes fast and easy, the continuous phase shift of a swept frequency control is heard without the quantisation e ects of the discrete steps found in other digital consoles.

The PRO X features the rugged and road-proven KLARK TEKNIK HyperMAC and SuperMAC (AES50-compliant) networking technologies with their ultra-low and deterministic latencies and robust error correction.

Its powerful audio networking o ers up to 288 inputs and 294 outputs at the 96 kHz sample frequenc y. For enhanced reliability, both the PRO X Live Audio System and the NEUTRON Audio System Engine feature a HyperMAC router with 192 bidirectional channels over dual-redundant copper or optical  bre snake connections.

The PRO X Live Audio System features dual 15" full colour daylight-viewable TFT displays for use in all environments, both inside and outdoors.

The 10 VCA (variable control association) and eight POPulation groups, combined with the advanced navigation o ered by the output-centric centre section, allows the simultaneous display of 24 mono or stereo mix buses.

All of this provides an unparalleled mix experience.

Overview

The PRO X is a very powerf ul and  exible audio processing sys tem that provides a complete solution for any audio mixing and signal distribution application in a live sound environment. Operation of the control sur face is intuitive, unique and easy. Its layout is based on familiar analogue lines to retain that ‘analogue’ feel. To manage the numerous channels, the control centre utilises VCA/POP groups and colours, and additionally there are various navigational controls that aid quick channel/bus access and selec tion. A daylight-viewable GUI at the top of the control surface assist s operation and provides extra functionalit y.

The live audio system is tolerant of many types of hardware or software failure. To achieve this the system employs dual redundancy, where a key component has an identical redundant spare that is ready to take over should it fail. Other failure scenarios are managed by the N+1 principle, where redundant components form an acceptable fraction of the system.

The KLARK TEKNIK DN9696 Recorder can be used with the live audio system for live multi-track recording and ‘virtual’ sound check.

11Quick Start Guide

Applications

The PRO Series are the work horse mid- to high-end MIDAS Digital Console Systems, akin to the industry standard Heritage 3000. Although the PRO Series are designed for the traditional touring live sound environment, they are also ideal for medium-sized theatres, small houses of worship installations, and broadcast. So, being a truly multi-functional console in the MIDAS tradition, the PRO Series are suitable for many applications, such as:

•

• Live sound touring MON or FOH duties

•

• Live sound small theatre MON or FOH duties

•

• Live sound house of worship MON or FOH duties

•

• Live sound broadcast mixer with basic 5.1 surround capabilities

and monitoring.

PRO X - The Next Generation PRO Series Console

If you are already familiar with the PRO Series consoles, then you are already well on your way to mastering the PRO X. With a few exceptions outlined here, the functionalit y of the PRO X is almost identical to its PRO Series predecessors. Because of its improved f unctionailty and increased processing power it was necessary to make the following changes to the well-established format:

NEUTRON

The powerhouse at the centre of the PRO X system is the new NEUTRON Audio System Engine. NEUTRON is the result of a three-year research and development programme that has seen MIDAS engineers push beyond the envelope with their expertise and knowledge.

Its cutting-edge, latest generation DSPs and high-performance FPGA, couple with MIMD (Multiple Instruction, Multiple Data) architecture delivers more than 100 giga ops of real-time audio processing performance. This means that NEUTRON has the potential to provide more than 800 audio paths. Your system remains absolutely future proof. It delivers impeccable MIDAS sonic performance and func tionality.

But it’s not just about raw, number-crunching power and high channel counts, NEUTRON is also about  nesse. Adding I/O boxes with the best converter s and custom processing algorithms that draw upon over 40 years of listening experience at the top of the industr y, NEUTRON takes the audio quality of those channels to another level.

All MIDAS digital console systems have a comprehensive and automatic latenc y management system and NEUTRON is no exception. This system manages all internal routing and processing latency and also includes compensation for external analogue inser ts. All audio samples are synchronised before summing, resulting in absolute phase coherency at the outputs and completely avoiding the ‘comb  ltering’ e ects of less carefully designed systems that result in speci c f requencies cancelling out completely.

Channel Count

With 168 inputs, 96 buses and three master channels, on the PRO X what you see is what you get. There’s no ‘smoke and mirror’ DSP sharing, the PRO X provides a full input channel count and full bus count at 96 kHz at any time.

Mix Bay Output Fast Zone

The PRO X control surface features an entirely new output section that makes handling the potentially huge number of buses a breeze. A page of 24 of the possible 96 bus masters is displayed across three rows of eight, each position easily identi ed by the s ame kind of select switch as the channel bay.

The digital write-on name and RGB backlight colour means ‘can’t miss’ selection. Pressing ‘to faders’ on any row drops the master fader for those buses onto the mix bay.

All of the buses can be scrolled through, in pages of 24, and when an output is added to a POP group, it will unfold to the dedicated output section, making it even easier to organise your work ow.

Channel & Bus Navigation Zone

At the heart of MIDAS console navigation are the VCA and POPulation groups, which provide primary access to multiple channels (typically grouped into related clusters by mix engineers). To access all the channels belonging to any of the VCA or POP groups, merely press the select switch and those channels unfold to the control surface.

If you think of the VCA faders as if they were each containers for all the channels they control then  nding channels becomes a natural and easy task. This method is further expanded through the provision of user customised POP (POPulation) groups, which can contain any combination of channels that you want to access instantly, at the press of a switch.

Additional E ects

The PROX can simultaneously process up to 24 simultaneous internal multi-channel e ects and NEUTRON’s 40 bit  oating-point audio processing hosts a wide choice of vir tual FX devices, which range from dual-mono delay units, stereo modulation and many diverse reverb F X, multiband compression, dynamic EQ and multichannel dual-function dynamics processing.

All FX processors are custom-designed to function within the MIDAS automatic latency compensation system. This ensures a phase-coherent sample- accurate mix regardless of whether the FX devices are used as channel inserts or as a send-and-return.

Delay FX can be individually con gured to synchronise to the PRO X’s Global Tap-Tempo hardware button, making on-the- y changes to tempo-based e ec t parameters child’s play. Up to 36 1/3 octave KLARK TEKNIK DN370 Graphic Equalisers (GEQs) are provided, which can be patched into any output.

12 PRO X

About The Control Centre

Overview Of The Control Centre

The control centre has a combined control sur face and GUI that provide an array of easy-to-use controls for the precise manipulation of audio.

The control centre is of modular construc tion and is built on a robust MIDAS steel frame chassis similar to those used for established MIDAS analogue produc ts. The frame houses three full size bays with a smaller one on the right. All of the bays are controlled from a single processor and, collectively, provide the primar y mixing needs of the engineer.

All associated power supplies, computer motherboards, memory and graphics cards are housed within the control centre, which also contains a digital audio router box that supports local FOH (insert) I/O connectors on the rear panel. Substantial forced air-cooling is provided by a bulkhead and large (but slow moving) internal fans. These produce ver y low noise, suitable for seated areas, theatres and concert sound, and can even be turned o under the user preferences menu.

Externally, the control centre has three main areas: control surface, GUI and rear panel. The control surface is populated with instantly recognisable controls that are logically distributed in major sections. The GUI, which comprises two screens at the top of the centre bays, enhances operation by providing visual representations of the control sur face and also gives you extra functionality. The rear panel provides all of the control centre and net work connectivity, and houses the mains power sockets and isolator switch.

Being of modular design, the overall form and shape of the control centre is similar to MIDAS’s  agship XL8. The control surface is split into bays, each one containing a  at fader tray and shallow raked control area. The centre bays also have a third area that houses a steep-raked display screen.

Multiple hardware fault types are tolerated by the control centre without loss of audio control due to the dual redundancy and N+1 methods incorporated in the system. This is fur ther helped by the modular nature of the bays and GUI independence. Either of the GUI screens can be used to operate the whole control centre, even if none of the control surface hardware is working. The unit o ers the facility of universal input, N+1 redundant power supplies with three latching mains connectors.

Bay And GUI Layout

The control centre has four discrete bays that house the following control surface controls:

•

• Input bays (12-channel and 4-channel) — two input

bays provide fast access to input faders and important signal processing controls

•

• Mix bay — provides access to output s and groups, a detailed

processing controller (all channels) and navigational controls

•

• Master bay — provides access to the master output mixes,

monitor (A and B) faders, automation, comms control, assignable e ects control, and another set of detailed processing and navigational controls.

Two GUI display screens at the top of the central bays provide extensive screen support (standard con guration) and extra functionality for the channels and buses. For example, when mixing or processing. They also facilitate the use of the GUI menu, which gives you access to the many powerful features of the control centre, such as patching, e ects, GEQs, diagnostics etc.

(1) Input bay (12-channel)

(2) Mix bay

(3) Master bay

(4) Input bay (4-channel)

(5) Mix bay GUI screen

(6) Master bay GUI screen

(7) Talk mic and USB connectors.

(1)

Input bay (12-channe

(2)

Mix bay

(5) Mix bay GUI scree

(6)

Master bay GUI screen

(1)

(7) (5) (6)

(2) (3) (4)(1)

(7) (5) (6)

(2) (3) (4)

13Quick Start Guide

Control Surface

The control surface is divided into areas whose function is, largely, dependent on bay location. Each bay has assorted control elements with local feedback and/or support from the t wo centrally located GUI display screens. The screens can be controlled remotely via external VGA connections, and third party systems can also be viewed/controlled via an integrated KVM switch on the rear panel.

A — input fast zone: 16 input fast strips across the 12-channel and 4-channel input bays provide the operator’s ‘must have now’ controls.

B — channel strip and mixes: processing areas, such as the D-zone (dynamic), E-zone (EQ) and mix controls, provide a more comprehensive control by allowing detailed adjustments to a single channel’s audio parameters.

C — channel and bus navigation zone: sections for channel and bus navigation and selection. For details, see Navigation.

D — output fast zone: the new output-centric centre section, allows the simultaneous display of 24 mono or stereo mix buses, and advanced navigation buttons.

E — VCA and POP groups: VCA faders and POP group sec tions.

F — miscellaneous: master channel strips, A and B signal path monitoring,

communications, I-zone, surround monitoring and mute groups.

G — primary navigation zone: trackballs for mix and master bay GUI screen control, and a screen access panel (bet ween trackballs) for direct access to GUI menu options.

H — automation: scene store/recall and system edit.

ACEHGCA

BD F B

14 PRO X

During show time the screen func tions that require fast access are controlled by control knobs, pushbutton switches, faders, etc. More complex functions that do not require this fast access are controlled by the trackballs and navigational keys. A keyboard integral to the  ight case is used for text entry via the master bay GUI screen. An external USB keyboard can be used to operate the mix bay GUI screen.

The choice of controls provided by each bay t ype are prioritised by access time importance. Fast zone areas, which contain fast strips, give instant access to speci c functions across the bay, and channel strips give greater control of the selected fast strip.

GUI

The GUI comprises two screens that provide a pictorial representation of the control surface layout so that its displays are easy to follow at a glance. Not only does it re ect what is happening on the control sur face, but it also provides extra func tionality via a GUI menu. This menu provides access to all the screens that you will require to set up, con gure, manage and operate the entire control centre, all from a single drop-down list of easy to follow options.

Above: Typical Overview scre en (default of the mix bay GU I screen)

Above: Typical Meter s screen with no show loa ded (default of the mas ter bay GUI screen)

Channels strip

Banner

Inputs

Outputs

Channel type select buttons

All meters display

Inputs and automation summary

15Quick Start Guide

Each GUI screen has its own default display, although either is selectable via the GUI main menu. The Overview screen displays 12 inputs and 24 outputs, which are selected on the sur face. The Console Overview screen shows the meters; both screens have a banner at the top, which is constantly displayed, and a channel strip down the outermost side.

The channel strips have a similar func tion to the ones on the control surface, but provide extra functionalit y. Each displays an overview of the associated selected channel, which is divided into speci c sections that provide access to processing areas.

Front And Rear Panel Connections

The control centre has connector panels on both the front and rear, and also to the left of the mix bay GUI screen.

The connector panel to the lef t of the GUI has an XLR socket and two USB sockets for connecting a talk mic and USB devices, respectively. For example, you can connect a USB memory stick for show  le backup and transfer, or a USB keyboard for text editing on the GUI. The top USB socket is associated with the mix bay and the bottom one with the master bay.

There are two panels at either end of the front of the control centre, under the armrests. Each has a keyboard and phones socket. The lef t and right keyboard sockets operate the mix and master bay GUI screens, respectively. The phones socket in the left panel is for the monitor A section and the other one is for monitor B.

A connector panel on the rear of the control centre has three main sections (see below). On the left are three mains power inlet and ventilation assemblies, with a DC power switch above. The mid-section contains connections for the audio, network, communications, intercoms, synchronisation, external remote devices and peripheral devices. The section on the right is the user-con gurable modular I/O section.

The modular I/O section can house up to three of any of the following I/O modules in any combination: DL441 analogue input (mic) module; DL442 analogue output module; DL443 analogue Jack I/O module; DL444 8 analogue mic in and 8 analogue line out module and DL452 AES/EBU input and output module. This gives a maximum of 24 inputs and 24 outputs, if the appropriate cards are  tted.

Above: Rear view o f the Control Centre.

Mains power and ventilation

Audio, control and networking

I/O

(conguration dependent)

16 PRO X

Basic Principles

Before You Start

This chapter is intended to familiarise you with the control centre by showing you how to carry out some basic operations in order to get some audio out of it.

NOTE: As the operation of both input bays is principally the same, this chapter will generally only show the operation of the 12-channel input bay. However, any di erences in operation between the 4-channel and 12-channel input bays will be shown.

Please don’t forget that, although this system is a complex, high-tech piece of equipment, it is very easy to use.

Principles Of Operation

Control centre operation is based on the concept of colour s and groups rather than ‘layering’ or ‘paging’, which is the case with most digital consoles on the market today.

With so many channels available it is far easier to remember them by their usercon gured individual/group colour and name rather than their channel number.

The control surface is populated with instantly recognisable controls that are logically distributed in major sections, so that all the controls you need to access most of the time are always on the control surface, while the remainder are only one action away. You can display all I/O meters, both on the control surface and the GUI, to give instant monitoring feedback.

Operating Modes

You can change certain aspects of control centre operation by assigning di erent tasks to certain areas of the control surface. This section will explain the di erent ways in which the control surface can operate.

Normal mode

During normal operation the 12-channel input bay is operated from the mix bay controls and GUI screen, while the controls and GUI screen in the master bay operate the 4-channel input bay. Both input bays operate in unison and are, in e ec t, area A.

NOTE: The 12-channel input bay will always be area A, no matter which operating mode you are using.

Using the 4-channel input bay as area B

You can assign the 4-channel input bay as area B, thus making both the input bays independent from each other. This facilitates two-man operation (see Two-Man Operation).

Controlling the mix buses in  ip mode

Flip provides a more global approach to mix bus level control. Normally, you can only use the level control knobs in the channel strips to adjust the signal level of the aux/matrix mix buses going to the aux/matrix channels. However, by using  ip you have the option of controlling them f rom either the pan control knobs or the faders in the input fas t strips.

In  ip mode the lef t/right arrow buttons in the upper channel select section scroll across the input fast strips.

>> To con gure the control centre for pan or fader  ip

1. At the GUI, choose home > Preferences > General.

2. Depending on which option you require, click the option button of one of the following in the Fader  ip sec tion. When an option is selected, it will contain a red circle:

•

• “Flip to Faders”

•

• “Flip to Pans”.

>> To  ip mixes to input pan/fader control

With an output selected on the control surface, press FLIP. The button will illuminate to show you are in ‘ ip’ mode. The currently selected mix bus in the input fast strips will change to AuxS1 and, on the GUI, the background colour of the pans and faders will change accordingly.

Also, the LCD select buttons in the input fast strips will display the current bus mode, for example, “MONO AUX”.

Hints And Tips

•

• Check what is hidden - On the control centre, unlike on an analogue

control surface, some of the set tings and parameters will be hidden from view. At various times during a mix we recommend that you select and view unused parameters to make sure there are no hidden surprises, for example, a reverb send left from a previous mix

•

• Check the Meters screen - It is a good idea to frequently

monitor the Meters screen (default display of the master bay GUI), which provides at a glance an overview of the control centre’s status and operation. It shows all the meters and the status condition of faders and some switches, such as solos and mutes. However, some things will still remain hidden.

Saving Your Work

We recommend that you save your work regularly while carr ying out the procedures included in this guide. Not only is this good prac tise during normal operation, but in this instance it may save you from losing some set-ups that could prove useful later on. To do this, create a new show (see To Open The Automation Screen), and then continue reading through the remainder of this section, following the instructions caref ully. Save your work at convenient points (see To Create A New Scene Using The Current Settings and To Save A

Show Or Create A New One From The Current Settings).

Saving a show versus storing a scene

It is important to understand the di erences between saving a show and storing a scene.

•

• Storing a scene saves the current set tings of the system to the show

 le. Scene data is never updated unless you manually store a scene. The show  le remains unsaved in R AM.

Although the state of the control centre is copied every  ve seconds, it is not stored in a scene. Instead, it is placed in the NVRAM (non-volatile random access memory) of the control centre’s memory, which is a type of RAM that doesn’t lose its data when the power goes o . If the control centre loses power accidentally, these settings are loaded so that audio parameters are identical, thus avoiding audio level jumps. When power is lost, the show le loaded (if any) will not subsequently be restored, and any unsaved changes to it will be lost.

•

• Saving a show copies the show  le onto the internal solid-state disk

of the control centre. This provides you with a ‘permanent ’ copy, provided you shut down the system properly as detailed in the following section.

Shutting down the control centre properly

When switching o the control centre, we recommend that you use the shutdown option of the GUI menu (see To S witc h O The Control Centre).

By using shutdown, the cached copy of the show data, whic h is maintained by the system, is automatically store d. Shutdown then uses the current show le, NVRAM data and cache  les to restore the control centre to exactly the same s tate as at power down; even to the point of loading the unsaved show and placing you at the correct scene, with non-s tored scene data at the control surface.

If you don’t use the Shutdown option the audio parameters are still restored, but the show and show status (saved/unsaved) cannot be restored automatically. You must manually reload the show, and any unsaved changes will be lost.

17Quick Start Guide

Working With The Control Centre

Although many controls on the control centre are similar to their equivalent analogue-type counterparts, some have been speci cally designed for the PRO Series, particularly those for navigation and GUI operation. As you will probably have had experience on analogue consoles, you will already be familiar with most of the PRO X controls and their operation. Therefore, this chapter only deals with the GUI controls that may be new to you.

The navigational controls, such as quick access but tons and scroll buttons, are described in Navigation, and the ones speci cally for automation can be found in Managing The Scenes.

About Channel Operation

During normal operation the task of controlling the input (12 channels), aux, return, aux sends and matrix channels is allocated to the two bays on the lef t. The two bays on the right control the input (4-channel) and master channels.

This task allocation applies similarly to the GUI screens. However, you can control any channel from either GUI screen. This is done by navigating the channel to the GUI channel strip via the GUI menu; control is also then available via the local channel strip on the control sur face.

About GUI Operation

This section explains the basic procedures you can per form at the GUI screens. In general, you will control and operate the GUI by combining the operations described here.

Each trackball controls the movement of a pointer on its respective GUI screen. The left trackball operates the mix bay GUI screen and the right one operates the GUI screen in the master bay. Each trackball has t wo buttons, which have similar functionality to the buttons on a PC/laptop mouse. The left button is used in click and drag operations, while the right button is generally used for editing and  ner control operations.

Operating The GUI Screen Controls

This section shows you how to operate GUI screen elements, such as buttons, control knobs, drop-down lists and sliders.

>> To switch a GUI button on/o

Click the button. If it has a status indicator, this will illuminate/extinguish to show that it is on/o , respectively.

>> To adjust a GUI control knob or fader

Use a drag operation. Move the pointer up/down/left /right for adjustment.

>> To select an option from a drop-down list

Click the drop-down arrow. The drop-down list will unfold to display some or all of its contents, depending on how many items it contains.

Do one of the following:

Click the option you require

If necessary, scroll the list (see “To scroll a drop-down list ” below) to display the option, and then click it.

>> To scroll a drop-down list

With the drop-down list displayed, do one of the following:

Drag the scroll box

Click the scroll bar. The scroll box will ‘jump’ in the direc tion of the click to another position in the scroll bar

Click an up/down scroll arrow. The scroll box will ‘jump’ in the direction of the scroll arrow to another scroll bar position. Clicking a scroll arrow when the scroll box is adjacent to it has no e ect.

Using The GUI Menu

You can open the GUI menu at either GUI screen, or you can go directly a GUI menu screen by using a screen access but ton.

Throughout this guide, menu/submenu option selection sequences are shown in the following format (for example, for choosing the general preferences screen):

home > Preferences > General

>> To open the GUI menu

Click home.

18 PRO X

>> To select a GUI menu option

Click the menu option, for example, Monitors. The background of the menu option will change to blue when it is ready for selec tion.

>> To open the submenu of a GUI menu option

Move the pointer over the arrow to the right of the desired menu option. The submenu will open automatically to the right of the arrow.

>> To open a GUI menu screen using a screen access button

In the primary navigation zone, press a screen access button to open the  rst screen (printed to the right of the button). Press it again to open the second screen.

Tex t Edi tin g

A keyboard is used to type in text on the GUI, for example, to con gure input and output channel names. Editable tex t on the GUI is contained in text boxes, which generally consist of a single line of limited length. Although all text editing can be done using the normal keyboard func tions, the GUI can be used to assist you, for example, by highlighting portions of text (using drag).

These tw o examples show you ho w to use the screen acc ess buttons to op en the Automation sc reen (single pres s) and the Graphic EQs sc reen (two presse s). These but tons take you direc tly to the scree n you want.

>> To enter/edit text via the keyboard

At the GUI, click in the text box to place an inser tion point in it. The pointer will change to an I-beam shape.

Using the keyboard, type in the new text. If the text box already contains some text, you can delete this  rst or edit it, which can be done via the keyboard or by using the cut, copy and paste options after right-clicking.

Press ENTER on the keyboard to exit the text box (or click on an empty area of the GUI screen). The pointer’s shape will change back to an arrow.

19Quick Start Guide

Navigation

An Introduction To Navigation

The control centre provides you with unique navigational controls to quickly and easily access the items, such as channels, buses, groups and processing areas, that you will require for mixing.

Navigation is an important feature of the control centre. One of the advantages digital consoles have over analogue ones is that their channel count is not limited by the control surface hardware. However, this means that only a certain amount of channels can be at the control surface at any time, while the others are ‘hidden’. So, navigation is required to access these hidden channels whenever you need them.

NOTE: The way the control centre is set to operate may alter the function of some of the navigational controls. For more information, see Operating Modes.

Navigation is primarily via the control sur face, although the GUI may provide an alternative and also has some unique navigational features of its own.

Navigating The Input Channels

The input channels are grouped into ‘banks’, with each bank containing four consecutively numbered channels.

During normal operation, four banks of input channels populate the input bays, and these are displayed across the control surface in ascending order from left to right.

20 PRO X

Input channel navigation controls on the PRO X.

Mix bay channel strip

Input fast

strip

Item Element(s) Description

Quick access but ton — channel str ip

Quickly sele cts the local proce ssing area of the selected c hannel or channel pair, but doesn’t a ect channel se lection. Illuminates (blue) when active.

Quick access but ton — input fast strip

Quickly sel ects the local input c hannel and assigns the local pr ocessing area to the mix bay channe l strip. Illuminates (blue) when active.

LCD select bu tton — input fast strip

Select s the local input channel. Has a back lit LCD display (with user-con gurable backlight colour), which shows cha nnel name etc. When selec ted, the display changes to a ‘negative ’ image.

LCD select bu tton — VCA/ POP group

Select s the VCA/POP group, unfoldin g the group members to the contr ol surface. Has a backlit LCD display (wit h user-con gurab le backlight colou r), which shows group name. Wh en selected, the display chang es to a ‘negative’ image. This butto n is also used for settin g up the group (see To Assign Chann els to a VCA/POP Gro up).

Channel sele ct keys and button

The INPUT button in the channel type secti on is used with the number keys in t he lower channel select se ction to select a spe ci c channel number, assigning i t to the control surface (see Fault Fin ding A Problem Chan nel).

6 ALIGN button

Navigates the cur rently selected input c hannel to the local input bay (see To Navigate T he Selected Input Ch annel Back To The Control Su rface”).

7 scroll by 4 / 12 buttons

These lef t and right scroll but tons scroll through the inpu t channels 12 channels at a time on the lef t 12-channel bay, and 4 at a time

on the right 4 -channel bay 8 B button Assigns the 4 -channel input bay as area B, wh ich then operates with the m aster bay channel strip. 9 scroll by 1 bu ttons These lef t and right scroll butt ons scroll through the channe ls one at a time. Channel selecti on follows the scrolling.

21Quick Start Guide

>> To assign an input channel to the control sur face

Do one of the following:

•

• Scroll buttons - Scroll the desired input channel to the control

surface using the scroll by 1 / 12 buttons in the input select section.

•

• VCA/POP group buttons - If the desired input channel is in a group,

press its VCA/POP group LCD select button.

You can use the GUI menu to select any VCA/POP group you want via the

home > Control Groups > VCA Groups option.

>> To select an input c hannel

With the desired input channel currently assigned to the input fast strips on the control surface, do one of the following:

•

• LCD select but ton - Press the LCD select button in the desired input

fast strip. This will assign the input channel to the local channel strip and its input channel overview to the GUI channel strip

•

• Quick access button - Press any quick access button in the desired

input fast strip. This will assign the input channel to the local channel strip and its local processing area to the GUI channel strip.

You can use the scroll by 1 buttons in the upper channel select section to scroll channel by channel to go to the input channel you want. You can scroll all of the input channels using this method and the desired input channel doesn’t have to be assigned to the control surface initially. Channel selection follows the scrolling.

You can use the GUI menu to select any input channel you want via the

home > Input Channels option.

>> To navigate the selected input channel back to the control surface

If you have navigated the currently selec ted input channel away from the control surface, you can bring it back by pressing ALIGN.

>> To select a processing area

You may want a speci c processing area of an input channel assigned to the local channel strip, for example, to carr y out processing or for copying its parameters to another input channel.

Do one of the following:

•

• Quick access button (channel strip) - If the input channel you

want is currently selected at the control surface, press the quick access button local to the desired processing area in the channel strip

•

• Quick access but ton (input fast strip) - If the input channel you

want is currently at the control sur face, but is unselected, press the quick access button local to the desired processing area in its input fast strip.

You can select a processing area via the input channel overview in the GUI channel strip by clicking within a non-control area of the desired sec tion.

22 PRO X

Navigating The Mix Buses

The input channels each have aux and matrix mix buses.

Mix sections

(mix bay)

Mix sections (master bay)

Input fast

strip

Item Element(s) Description

Quick access but ton — input fast strip

This butto n in the mix section of the input f ast strips quickly s elects the local mi x area of the selected ch annel.

Illuminates (blue) when active.

Quick access but ton — mix selection

This butto n in the mix section of the mix and ma ster bays quickly selec ts the bank of the current ly selected aux/matr ix

bus, assigning it to th e local channel strip on the con trol surface, and also assignin g the bus processing area to the loc al GUI

channel strip.

Illuminates (blue) when active. 3 scroll by 8 bu ttons These up and dow n scroll buttons scr oll through the mix buses in g roups of eight (one bank) at a time. 4 scroll by 1 bu ttons These up and dow n scroll buttons scrol l through the mix buses one at a ti me. Mix bus selection foll ows the scrolling. 5 Display Shows the number of t he currently selec ted mix bus and its type. 6 FLIP butt on See Contro lling The Mix Buses In Flip Mod e.

23Quick Start Guide

>> To navigate a mix bus to the control surface

Do one of the following:

•

• Scroll to the desired mix bus using the scroll by 1 buttons in the mix

section. Mix bus selection follows the scrolling

•

• Scroll the desired bank of mix buses to the control surface using the

scroll by 8 but tons in the mix section

•

• Select the desired mix bus in the Output Bay and press Align.

>> To select a mix bus

Do one of the following:

•

• Scroll buttons - Scroll to the desired mix bus using the scroll by 1

buttons in the mix section. Mix bus selection follows the scrolling

•

• Touch sensitive control knobs - With the desired mix bus

assigned to the mix section on the control sur face, touch/operate its control knob.

>> To navigate the mix bus processing area to the channel strip

Press the quick access button in the mix section of the desired input fast strip. This does not a ect the current population of the output fast zone.

You can select an aux bus or matrix bus processing area on the GUI by clicking on the title of the desired bank of mix buses in the input channel overview of the GUI channel strip (see Typical Sends Sections Of The Mixes In The Gui Channel Strip).

24 PRO X

Navigating The Output Channels

The output channels comprise auxes, matrices and masters.

Master channels

Master bay channel strip

Item Element(s) Description

Quick access but ton — master channels

Quickly sele cts the local master chan nel. Illuminates (blue) when active.

2 To Faders Moves the curre ntly-selected group to th e faders below. 3 LCD select but ton Select s the channel. Has a backlit LCD display (with use r-con gurable backlight colou r), which shows group name. 4 Mute button Mutes the selec ted channel. 5 Solo butto n Solos the sele cted channel.

Channel sele ction keys and button s

The button s in the channel type section (except th e INPUT button) are used with the nu mber keys in the channel select (lower)

section to s elect a speci c output channel number, assigning it to th e control surface (see Fault Find ing A Problem Chann el. 7 scroll by 1 bu ttons These lef t and right scroll butt ons scroll through the channe ls one at a time. Channel selecti on follows the scrolling. 8 scroll by 24 buttons These lef t and right scroll butt ons scroll through the channe ls 24 at a time. Channel sele ction follows the scro lling.

Quick access but ton — channel str ip

Quickly sele cts the local proce ssing area of the selected c hannel or channel pair, but doesn’t a ect channel se lection.

Illuminates (blue) when active.

25Quick Start Guide

>> To assign output channels to the control sur face

Do one of the following:

•

• Channel type buttons - On the PRO X the Channel Type buttons

have been replaced with 24 Out LCDs which are assignable in the usual manner: press and hold, and then selec t the channels you wish to assign.

•

• Scroll but tons - Scroll the desired output channel to the control

surface using the scroll by 1 buttons in the channel select (upp er) se ctio n.

To select the desired output group, scroll through the input fast zone with the

Scroll by 24 buttons.

>> To select a processing area

You may want a speci c processing area of an output channel assigned to the local channel strip, for example, to carry out processing or for copying its parameters to another output channel. To do this, provided the output channel is currently selected at the control surface, press the quick access button local to the desired channel strip’s processing area to selec t it.

You can select a processing area via the GUI by clicking on a non-control area within the desired section of the ‘overview’ display (aux send, aux return, matrix or master) in the GUI channel strip.

Navigation Via The GUI

The GUI has unique navigational tools by which to return to a channel ‘overview ’ display from one of its processing areas in the GUI channel strip, and also to browse through the GUI screen display history.

>> To navigate back to a channel’s overview display from one of its processing areas in the GUI channel strip

Click the return arrow in the channel header.

>> To  nd a GUI screen that you recently opened

Use the back/for ward browser buttons to do one of the following:

To return to the GUI screen you have just opened, click the back button

To open one of the GUI screens you have recently visited, click the back/forward buttons. The back but ton will take you back through your browser history, while the forward but ton goes the opposite way.

The back/for ward buttons are similar to those on standard browsers used on any PC.

Fault Finding A Problem Channel

If you know the number of the channel that has a problem, you can quickly navigate it to the control surface by t yping in its channel type and number via the lower channel select (lower) and channel type sections.

>> To select a channel using its number

1. In the channel type sec tion, press the button of the desired type. For example, if the channel is an input, press INPUT.

2. In the channel select (lower) section, type in the channel’s number. For example, press 4 and then 7 for channel 47.

3. Press ENTER.

Con guring The Inputs And Outputs

Similarly to the VCA/POP groups, you can change the name and colour of each of the inputs and outputs. This is done via the GUI at their respective sheet screens. For con guration details, see Con guring VCA/POP Groups.

>> To open the Input/Output Sheet screen

Do one of the following:

•

• At the GUI, choose home > Input Channels > Input Sheet to open

the Input Sheet screen, or choose home > Mix & Outputs > Output Sheet to open the Output Sheet screen

•

• In the primary navigation zone, press the inputs/outputs screen

access button to open the Input Sheet screen. To open the Output Sheet screen, press it again.

26 PRO X

Patching

Introduction

Patching is a GUI-only feature that lets you carry out all system routing requirements. The GUI main menu has a Patching option that takes you to the Patching screen, which contains all of the available patching connectors in the system. This screen provides an easy-to-use interface, where you can select your source and destination patching options, facilitated by a panel of func tion buttons. Additionally, the Patching screen lets you set up the units (devices). For example, you can adjust the analogue gain, selec t +48 V phantom voltage etc., of the line I/O units connected in the system.

Item Element(s) Description

1 SINGLE button Lets you patch a sing le source to a single destination or mu ltiple destinations. See Single Patching (SINGLE). 2 SEQ. button Lets you select m ultiple sources and patch the m one by one. See Sequence Patching (SEQ.).

3 AUTO button

Lets you selec t a block of sources and patch the m all automatically, simply by selecting a si ngle destination. Any exist ing patches

within the des tination range will be repla ced by the new ones. 4 NONE button Clears all cur rently selected patch con nectors from all tabs i n the From and To sections. 5 LIST button Chan ges the tooltip type fr om standard to list when carr ying out a sequence patchin g operating via the SEQ. but ton.

6 CHECKPOINT button

Sets a patchin g store point, or snapshot, that contain s the patching status at that inst ant. Each time CHECKPOINT is clicked th e

previous checkpoint is overwritten.

7 RESTORE button

Reverts p atching status to the last che ckpoint or, if no checkpoint s have been created, it will rever t patching status to the power up

condition. All patc hing done in the intervening per iod will be lost.

8 UNDO button

Undoes the lates t single patch, even if it was part o f a multiple patching operatio n. Repeated clicks will undo th e preceding

patching opera tions, going back to the last che ckpoint, or power up if no check points have been created.

27Quick Start Guide

Item Element(s) Description

9 REDO button Redoes an undo. This can be repe ated for each undo in the previou s undo operation.

10 CLEAR SEL. butto n

Clears all cur rent selections and t heir patches. Important: Unlike the NONE but ton, which merely removes the cur rent selections (highli ghted in yellow), CLEAR SEL. goes a step furt her by removing the patc h as well. This will stop any audio that may have bee n going through the patched sign al.

11 C LE AR b utt on

Clears all patc hing. Important: Exercise gr eat caution when using this f unction. Observe t he warning that appears af ter clicking this but ton.

12 CO NFIG but ton

Opens the AES50 De vice Con guratio n window, from where you can set up the I/O t abs in the Patching screen (see Typic al AES50 Device Con guration window).

STORE PRESET and LOAD PRESET buttons

These are user li brary (preset) func tion buttons. See Use r Library (Presets).

14 Title section Section titles and tab names. 15 Patching area Contains all of the patch connec tors on tabs. 16 To section Houses the tab s that contain all of the patch connec tor destinations. 17 From sectio n H ouses the tabs that contain all of the p atch connector sources.

>> To access the Patching screen

Do one of the following:

•

• At the GUI, choose home > Patching

•

• Press the patching/metering button in the primary navigation zone

•

• At the GUI, click a src (source) or dest (destination) button.

The Patching screen will open at the appropriate tab/ con guration window.

About The Patching Procedure

Although patching can be thought of as routing/rerouting the control centre’s incoming, internal and outgoing signals, in the context of the Patc hing screen, patching also encompasses the set ting up and con guration of the stage and FOH rack I/O devices. The patching procedure is initially carried out after system installation and comprises:

•

• Device con guration - Con gure the devices by adjusting their

parameters (see below)

•

• Setting up the I/O rack devices - Set up the system devices, such

as line I/O, DN9696 and generic AES50, in the I/O tabs in the From and To sections of the Patching screen (see Setting Up The I/O Rack Devices)

•

• Patching - Carry out all of the required routing, for example, mics to

input channels (see How To Patch)

•

• Snake selection - Con gure the control centre according to the type

of ‘snake’ you are using for the X and Y networks (see Con guring The Snake Type). This is impor tant, as the control centre will not work unless the snake type is correctly con gured.

Con guring The Snake Type

Important:

The snakes must be correctly con gured before operating the control centre, as it will not pass audio or control data if the snakes are not con gured correctly.

You can connect the Neutron DSP Engine to the control centre with either copper or  bre-optic snakes. The control centre needs to be con gured with this information before operation can begin.

>> To con gure the control centre with the snake type information

1. At the GUI, choose home > Preferences > General.

2. Under the Stage Link X heading, click the Fibr e or Copper option, according to whichever is  t ted to the X network. A selected option will contain a red circle.

Do the same for the Y network, under the Stage Link Y heading..

Setting Up The I/O Rack Devices

You can add, remove and set up the devices, such as line I/Os, mic splitters, DN9696s etc., that are in the Stage I/O and FOH I/O racks. This is done via the AES50 Device Con guration window. Here, you can set up the device ID and also the type of cards (modules)  tted to the physical unit. The options are context-sensitive, so some may be blank, depending on the type of device.

To cater for the dual redundant ports of the Mic Splitter and Modular I/O (X and Y connections) there are several options in the device type: drop-down list, for example DL431 Cable Red, DL155 Cable Red, etc. Initially, the device is allocated to a port (as for any device), then a second port is allocated to the redundant connection, but with the same device ID (see below for details).

28 PRO X

Item Descript ion

1 List of Stage and FOH p orts, showing current de vice assignments. 2 device type drop-down li st, contains a list of the available device s to choose from. 3 device ID drop-down list, co ntains a full list of IDs for the sele cted device type. Thos e already in use will be pre xed with the text “( In use)”.

device options drop-down lis t(s), from which you can se lect the card that is ac tually  tted in the physic al unit. The positions of the dro p-down lists are relati ve to the card posit ions in the physical unit.

5 CLOSE button, clos es the AES50 Device Con guration window.

>> To add a device or change its set up

1. Click CONFIG to open the AES50 Device Con guration window.

2. Click the por t to which you want to allocate the device. For example, “FOH Port 3 (unused)”. The text in the device type:  eld will change accordingly. (A port that has no device allocated to it will have the tex t “(unused)” after its name.)

3. In the device type: drop-down list, click the type of device. For example, “DL351A”.

4. In the device ID: drop-down list, click the ID you want for the device. For example, “ID6”.

5. In the device options: drop-down list, click the type of card  tted physical unit. For example, “Analogue 8 Input”. If there is more than one device options: drop-down list, repeat for the remaining ones, making sure they match the actual cards  tted (DL351 & DL451 only).

6. Click CLOSE.

Con guring The Devices

You have the option to con gure the devices from the Patching screen. Parameters, such as gain and +48 V phantom voltage, can be adjusted or switched on/o , respectively, via a device-speci c con guration window.

These con guration settings can be independent of channel data, as (until patched) they only control the physical unit. If a device is subsequently patched to one or more channels, the channel(s) control the device, and vice-versa.

The device con guration area also allows control of audio parameters when the device is used as a direct connec tion to another device. For example, FOH to stage via a digital snake, instead of through the DSP. In this case the settings are also saved in the show  le and c an be automated, even though the signals are not routed through the control centre DSP.

Device con guration procedure

Although the procedure for con guring the devices is similar, their parameters are dependent on device type. The procedure for con guring the devices of a similar type involves:

•

• Opening the con guration window of the device

•

• Selecting one of the device’s cards/channel ranges and con guring

the available parameters

•

• Repeating for the other cards/channel ranges of the device

•

• Repeating for the other devices

•

• Closing the device’s con guration window.

>> To open the con guration window of a device

Click the device’s spanner button.

>> To set up/change the con guration of an I/O device

1. Open the con guration window of the I/O device you want to con gure.

2. Select the I/O device from the drop-down list at the top of the con guration window.

29Quick Start Guide

3. Select the card/channel you want to con gure/change, from the drop-down list at the upper-right corner of the con guration window. For example, the “Analogue In Card”.

4. In a channel, con gure the parameters. For example, in channel “In1”, adjust the gain and switch the +48V phantom voltage on.

5. Repeat step 4 for the other channels in the card.

6. Repeat step 3 to step 5 for the other cards.

7. If necessary, con gure other I/O devices by repeating step 2 to step 6.

8. Click CLOSE.

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 sec tion. You can select patches singly, or in multiples by using the sequence and automatic operations.

>> To open a tab in the From or To sections

Click the tab title. For example, click Ins. Sends to open the insert sends tab.

>> To select a single patch connector

Click the patch connector. The e ects of clicking a patch connector are shown in the following table.

Clicki ng Does thi s in the From sec tion Does thi s in the To section

Select s the patch connector.

Will do one of the follow ing (provided a source patch connec tor(s) has been selec ted in the From sectio n):

•

Selec ts the patch connector dur ing a single patching operation.

• Patches the patch conne ctor during either a sequ ence or an automatic patching operation.

Otherwi se, this has no e ect.

Deselec ts the patch connector, which the n reverts to its previous state (patched or unpatched).

Removes the patch.

Select s the patch connector and all th e ones it is patched to in the To section.

Removes the patch.

NOTE: To quickly check the destinations of a source patch connector, click it. This will select it and all of its destinations. A green triangle will appear under the name of any tab in the To section that contains a destination(s).

30 PRO X

Single Patching (SINGLE)

The SINGLE function button lets you 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 split ter to an input channel.

1. Click SINGLE.

2. Select the source patch connector. For example, in the Stage I/O tab of the From section, click the  rst patch connector (XLR1) of card A of the DL351 Modular I/O. Its background will change to yellow and a green triangle will appear under the tab title (as shown right).

3. Select the destination patch connector. For example, in the Inputs tab of the To section, click the patch connector for input channel 14 (Mic14). It will now be patched to the source. If the new patch is carrying a signal, this audio may be heard, depending on the settings of the control centre.

NOTE: You can also carry out single patching operations using the CLEAR SEL. and AUTO functions.

>> To patch a single source to multiple destinations

Patch the desired source patch connec tor to one of its destinations, as detailed in To Patch A Single Source To A Single Destination.

In the To sec tion, select the other destinations.

Sequence patching (SEQ.)

If you need to do a number of patches, and each has only a single destination, you can use the sequence func tion. All of the source patch connectors are selected in the From section before being patched, one by one, in the To section. This saves you having to go back to the Fro m section at the start of each patch.

To assist you in sequence patching, you can change the tooltip to the lis t type (see the LIST function button in the Patching Screen diagram).

31Quick Start Guide

Basic Operation

This section is intended to familiarise you with the control centre by showing you how to carry out some basic operations in order to get some audio out of it.

Setting A Mic Ampli er’s Input Gain

The 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). In its default state, the stage box gain is in the channel strip and the console gain is in each input fast strip. However, you can swap these sections over (by pressing the gain swap button) to give you a more global control of the stage box gain.

NOTE: The gain trim and stage box control knobs on the control surface will adjust whatever has been ‘swapped’ to their respective strips and not necessarily what their names suggest. The stage box control knob (channel strip) always controls the alternative ‘swap’ to the ones shown in the input fast strips on the GUI screen.

>> To set the stage box gain/console gain

1. In the gain trim section of an input fast strip, press the quick access button (see Gain and  lter sections of the input strips). This selects the input channel and assigns its con guration processing area to GUI channel strip, which contains the GAIN SWAP button.

2. Press the lef t-right arrow gain swap but ton (or click GAIN SWAP) to swap the gain trim and stage box sections over.

3. Adjust the gain trim control knob to the required level to suit the MIDAS pre-amp characteristic. A suitable level could be one that only just illuminates the yellow LEDs. Do this for each required channel. 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 lef t-right arrow gain swap button (or click GAIN SWAP) to swap the gains back to their default state.

5. Adjust the gain trim control knob to (this time) adjust the console digital trim (+20 dB to -40 dB continuous trim) for your preferred gain structure.

6. Set analogue remotes for initial set-up, then adjust digital trim for showtime.

Setting The High And Low Pass Filters

Select high and low pass  lters. The high and low pass  lters can be switched on/o and, when on, each has two settings. The  lters are replicated on the GUI, which also shows the value of the  lter in operation.

>> To set both high and low pass  lters in

1. In the gain trim section of an input fast strip (see the Gain And Filter Sections O f The Input Strips diagram), press the quick access button.

This selects the input channel and assigns its con guration processing area to the GUI channel strip, which contains the  l t e r s section.

2. In the  lters section of the input channel strip, press the  lter select button (high pass or low pass) to switch the  lter in.

3. If necessar y, press the  lter’s SLOPE button to set its slope (dB); its status is shown on the GUI. For the high pass  lter, in = 24 dB and out = 12 dB, and for the low pass  lter, in = 12 dB and out = 6 dB.

4. Adjust the high pass/low pass control knob to set the  lter frequency (Hz). The ranges are 10 Hz to 400 Hz for the high pass  lter and 2 kHz to 40 kHz for the low pass  lter.

32 PRO X

Input Equalisation (E Zone)

Use EQ to equalise the input signal via the treble, hi-mid, lo-mid and bass  lters, which are situated in the input channel strip’s E zone. Treble and bass each have a parametric  lter option and three speci c shelving modes. Visual feedback for EQ is via GUI only.

>> To EQ the input signal

1. In an input fast strip, press the quick access but ton of the desired EQ  lter (treble, hi-mid, lo-mid or bass). This will select the channel and open the EQ  lter’s processing area in the GUI’s channel strip. Alternatively, you can navigate to it using the bass and treble up and down arrow but tons in the E-zone (shown above).

2. In the input fast strip, press EQ to switch the EQ in. The EQ button’s LED will illuminate when its EQ is switched in.

3. In the E zone, adjust the freq, width and gain control knobs to apply EQ as desired.

4. Audition the di erent  lters, including the ‘minimum harmonic disruption’ types, by scrolling through them using the SHAPE button.

NOTE: The minimum harmonic disruption  lter s are bright and deep, which are available for treble and bass, respec tively. These  lter s use psychoacoustic phenomena to generate steep slopes that sound natural.

Graph shows the eects of EQ

LEDs for EQ lter selection indication

Filter quick access button

Input fast strip

GUI channel strip

E zone

33Quick Start Guide

Input Dynamics Processing (D Zone)

Set up compressor and gate dynamics processors using the controls in the input channel strip’s D zone.

There are four compressors available, correc tive, adaptive, creative and vintage, each with the option of hard knee, medium knee and soft knee.

>> To set up a compressor/limiter

1. In an input fast strip, press the compressor quick access button in the comp section. This will select the channel and assign its compressor processing area to the GUI channel strip.

2. In the comp section, press ON to switch the compressor in.

3. In the D zone, operate the attack, ratio/range (rat io), release, threshold and make up controls to apply processing. You could also set up a limiter by using a high threshold and a steep ratio (greater than 5:1). The hold control knob has no a ec t as it is only used for the gate.

4. Press KNEE to audition the di erent algorithms.

5. Press MODE to try di erent compressor types (corrective, adaptive,

creative, shimmer and vintage).

>> To set up a gate

1. In an input fast strip, press the gate quick access button in the gate section. This will select the channel and assign its gate processing area to the GUI channel strip.

2. In the gate section, press ON to switch the gate in.

3. In the D zone, operate the attack, ratio/range (rang e), release, threshold and hold controls to apply processing. The make up control knob has no a ec t as it is only used for the compressor

4. There is also a MODE func tion to select either Gate, Transient Gate or

Ducker modes.

Output Processing

The outputs have a six-band PEQ with shelving modes on bands 1, 2 and 6. They also have the option of using a GEQ, which is accessed via the GEQ button in their EQ processing areas.

Using VCA/POP Groups

VCA/POP groups (bottom of the mix bay) allow simultaneous control over a number of channels. This provides a quick method of bringing particular channels to the control surface and saves you having to remember their name/number. You can choose channel group associations and also con gure the colour and legend of each group’s LCD select button to make them instantly recognisable. The LCD select button for each group is used for both group member assignment and group recall.

Any group can have any channels (input/output) assigned to them, although in normal practise is more likely that they will only have one or the other.

VCA groups include fader, solo and mute control. However, POP groups — which have no audio function — are limited to unfolding channels (on area A or B). POP groups let you create a group of related instruments that you need on the control surface for some function.

34 PRO X

>> To assign channels to a VCA /POP group

1. Press and hold down the LCD select button of the desired group (VCA or

POP). For example, “Kit” in the VCAs (as shown above). The group’s LCD select button will start  ashing when you are in group member selection mode and the inputs will jump to program mode.

2. While still holding down the LCD select button, do one of the following:

•

• To assign an input channel to the group, press the LCD select button

of the desired input channel. Repeat for any other input channels you want in the group. For example, “Kik 1”, “Sn1”, “Hihat” and “Tom” (shown above). If necessary, scroll to a new bank of input channels

•

• To assign an output channel to the group, press the LCD Select button

of the desired output channel. Repeat for any other output channels you want in the group. If necessary, navigate the desired output channels to the control surface. The LCD Selec t button of any output channels that are at the control surface and are group members will illuminate. Individual output select buttons will  ash if their bank contains a member of the current group.

3. Release the group LCD select button. The group now contains the channel

members you have just assigned and the group will be selected.

4. To exit the group, quickly press the group LCD select button.

Con guring VCA/POP groups

The default name and associated colour of a group, which appear on its LCD select button and on the GUI, can be con gured to suit your own preference. You can also globally change the colour of the group members to match the group colour.

Con guration is carried out at the Group Sheet screen.

NOTE: Clicking the control knob icon will take you to the VCA Groups screen (a submenu of the Control Groups option), which provides group management control.

>> To access the Group Sheet screen

Do one of the following:

•

• At the GUI, choose home > Control Groups > Group Sheet

•

• In the primary navigation zone, press the vc a/assignable controls

screen access button.

>> To set up the name of a VCA/POP group

Do one of the following:

•

• Choose from a list of pre-con gured names by clicking the pencil

icon of the group. In the drop-down list, click the name of your choice, for example, “E Gtr”. Scroll the list, if required

•

• Type in a new name by clicking within the name  eld of the group.

The pointer will change to a white  ashing I-shaped cursor, which will appear at the end of the name  eld. Type in the new name via the keyboard (maximum six characters).

>> To set up the colour of a VCA /POP group

1. Click the palette icon of the group.

2. In the palette, click your chosen colour.

>> To set up the colour of a VCA /POP group and all of its members

Click the  ll icon of the group. The colour of all group members will now match that of the group.

Setting Up A Mix

The control centre has 96 con gurable mix buses (72 auxes and 24 matrices); the auxes can be set to mixes, subgroups or mix minus. All of the mixes can also be set up as stereo pairs or mono. 24 matrix outputs can also be accessed directly from input channels via level controls, which gives the control centre the ability to provide 32 discrete mixes, plus left, right and mono. The mix sections (input fast strips) and the mix and sends sections (mix and master bays) provide mix control and navigation, while the bus mode selection is via GUI only.

Similarly to the inputs and groups, identi cation of mixes is by colour coding.

The overview displays in the GUI channel strip (see below) show the status of the mixes, which are colour coordinated to match those in the sends section of the control surface.

35Quick Start Guide

>> To select the mix bus mode

1. Select the mix bus (see To Select A Mix Bus).

2. Press the quick access button (adjacent to the  lters section) to assign the mix overview to the channel str ip. For example, the aux send overview for AuxS1.

3. Click a non-control area within one of the sections (for example, dir in) to open the con guration processing area in the GUI channel strip.

4. Click MODE repeatedly to scroll through the mix modes (mix, group and mix minus) to select the one you want. Group mode is fader only with no pre-fader, and in mix minus mode all buses are initially routed — you have to turn a bus routing switch on to take it out of the mix. Stereo mix mode — with mix selected and LINK button on — is only accessed f rom the odd numbered output channel of the linked pair. In stereo mix mode the top control knob becomes pan adjust and the bottom one adjusts level. When creating a stereo mix, you can use either the odd or even output to link the two channels, but the mode of the odd channel is used on both.

>> To set up a mono aux mix

1. Making sure that the mix bus is not linked, select mix (see To Select The Mix Bus Mode).

2. Select the input channel (see To Select An Input Channel).

3. At the GUI, click within the appropriate sends section (aux or matrices) in the overview display to open its processing area.

4. In the mix (upper) section, do the following:

•

• Press PRE to select pre-fader (on) or post-fader (o ).

•

• Press ON to route the aux mix from input to aux output

•

• Adjust the level control knob to change the signal level.

You have the option to adjust them using the pan/fader controls in the input fast zone (12-channel input bay); this is known as “ ip” mode. (You can also adjust them in the GUI channel strip — overview or processing area — using drag.)

36 PRO X

Mix bus routing

You can route an aux or matrix (or even master output) to an e ect or output. This is a GUI-only operation, which is done via the GUI channel strip or Patching screen (see Patching).

>> To route an aux or matrix to an e ect or output

Do one of the following:

•

• In the processing area of the channel strip, click the required mix bus

destination from the drop-down list. For details of how to open the processing area, refer to To Select The Mix Bus Mode

•

• In the processing area of the channel strip, click dest. This will open

the Patching screen and the appropriate tab. For details of how to open the processing area, refer to To Select The Mix Bus Mode

•

• Open the Patching screen and route the aux/matrix from there.

For information on patching, see Patching.

Linking

You can link two mixes together. Pairs can only be created from adjacent mix buses of the same colour. To link a pair of mix buses, click the LINK button of either of the mix buses (odd or even) you want to link (see To Select The Mix Bus Mode).

The linked parameters default to the user-con gurable global default link settings, which are set via the GUI menu (choose home > Preferences > Linking). However, you can override these default link settings for the pair via the Stereo Linking Options window, which is opened by pressing the

LINK OPT. button (to the right of the LINK button).

Using Fader Flip

For information on using fader  ip, see Controlling The Mix Buses In Flip Mode.

NOTE: When using fader  ip to control the aux bus levels, always use the

GUI to check the level. This is because the fader level markings have a maximum of +10 dB, whereas the aux bus levels only go up to +6 dB.

Setting up the e ects rack

The GUI’s E ects screen contains a vir tual 24-unit rack. You can have a maximum of 24 e ects units in the rack, the number being dependent on con guration (via the E ects and GEQs sec tion of the Preferences screen).

Each unit can contain any combination of the e ects listed in the Change Device Type window.

The assignable controls panel is common to all e ec ts, and lets you control e ec t parameters via the equivalent panel on the control surface (master bay).

>> To choose an e ect

1. At the GUI, choose home > Rack Units > E ects. Alternatively, press the e ects/graphics screen access button in the primary navigation zone.

2. Click within your chosen rack position. This will be the position of the new e ec t.

3. In the e ect window, click CHANGE DEVICE TYPE.

4. In the Change Device Type window, click your chosen device type.

5. Click OK.

6. Change the parameters of the new e ec t device as necessary. For example, adjust control knobs, press buttons etc. You can even change the e ect’s name by editing its name  eld (upper-left corner of e ect window).

7. Click CLOSE to close the e ect window. The new e ect will appear in the e ects rack. You can now patch the new e ect, which will be on the E ects tabs of both the Fro m and To sections of the Patching screen. For information on how to patch, see Patching.

Simple Routing To Master Stereo Outputs

The following shows you how to obtain audio. Before proceeding with this operation, make sure nothing is muted and master faders are up.

>> To obtain audio

Do one of the following:

•

• Press the ST (stereo) button of an input fast strip

•

• Press the ST (stereo) button of a channel strip.

Scene And Show Management (Automation)

Automation lets you manage show  les and the scenes within the shows. This can all be done via the Automation screen (a GUI menu option).

>> To open the Automation screen

Do one of the following:

•

• At the GUI, choose home > Automation > Automation

•

• In the primary navigation zone, press the automation/ ling screen

access button.

Managing the shows

The four buttons (NEW, LOAD, SAVE and SAVE AS) towards the top of Automation screen let you create a new show, load an existing show,

update the current show or create a new show using the current settings.

Important:

We recommend that you save your show settings regularly (see Saving A Show Versus Storing A Scene). The control centre will indic ate that there are show settings to be saved by changing the background colour of the SAVE button to red.

>> To create a new show

1. Click NEW.

2. In the Enter new show name: window, type your chosen name for the new show.

3. Click OK. You can now create and manage the scenes for your new show. (Cli ckin g CANCEL instead of OK will close the Enter new show name: window without creating a 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 set tings, click SAVE

•

• To create a new show using the current show settings, click SAVE AS.

Then, in the Save File window, type in the name of the new show. Click OK to save the new show and close the window. (Clicking Cancel will close the window without saving the new show.)

37Quick Start Guide

>> To load a show

1. Click LOAD.

2. In the Load File window, click the show  le you want to load (shown right). The  le name will appear in the Load this  le: name  eld. The Load File window will contain a list of all the shows currently loaded. If the one you want is not there, load it from a USB memory stick (see To Load (Import) A Show File From A USB Memory Stick).

3. Click OK to start loading the  le and close the window. The show  le name will appear in the show  le name  eld (next to the SAVE AS button) when it has  nished loading.

Managing the scenes

An automation section in the master bay supports the Automation screen by providing a number of controls for scene navigation and management. A jogwheel and a next LCD button are unique automation controls, while the store, ok, cancel, last and now buttons are replicated on the Automation screen.

The four coloured, backlit but tons are context-sensitive and illuminate only when they are available. Typically, three scenes in the cue list (Automation screen) will be highlighted to match the button colours (red, yellow or green) to show which scene each button will ac t upon.

The jogwheel quickly scrolls through the individual scenes in either direction. You can even go to the empty scenes towards the end of the cue list and then wrap to the beginning. Operation of the jogwheel does not a ect scene selection.

The next LCD button displays information on the scene to which you have just scrolled.

Additional function buttons on the Automation screen allow you to copy scenes and also to choose what is stored within each scene (store and recall scope buttons).

NOTE: The eye icon in the Automation screen ( just under the ADD MIDI button) opens a Show window, which contains a list of  lter options.

>> To navigate the scenes using the jogwheel

Rotate the jogwheel in a clockwise or anti-clock wise direction to scroll through the scenes one by one.

When using the jogwheel the next LCD button will illuminate yellow and will track the scene currently highlighted in yellow in the cue list. In this case, pressing this button will only have an a ect if a non-empty scene is currently highlighted.

>> To recall a scene

Important:

When recalling a new scene, make sure monitor output levels are low, as the new scene’s settings may produce higher audio output levels than the one it is replacing. Also, recalling a scene clears any unsaved adjustments made to the previous scene.

Do one of the following:

•

• Press last to change scene selection to the one currently highlighted

in red in the cue list, which was the last selected scene

•

• Press now to change scene selection to the one currently highlighted

in yellow in the cue list

•

• Press next (LCD button) to change scene selection to the one

currently highlighted in green in the cue list, which is the scene immediately following the ‘now’ scene. However, if you have used the jogwheel the e ect will be di erent.

>> To create a new scene using the current settings

1. Click STORE SCENE.

2. In the Store Scene window, type in the scene name.

3. In the Notes panel, type in any scene notes.

4. Do one of the following:

•

• Click “Insert before scene” to put the new scene in between the one

currently highlighted in yellow and the scene immediately before it

•

• Click “Store to empty scene” to put the new scene in the one currently

highlighted in yellow, provided it is empty

•

• 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. An OK button will appear at the bottom of the window, to the left of the Cancel button. The options in the Store Scene window are context-sensitive, so some may be greyed-out to show that they are unavailable.

5. Click OK. This will store the scene, saving any changes you have made, and close the window. (Clicking CANCEL will close the window, ignoring any changes.)

Additional control — managing events

You can use the MIDI or GPIO functions of the control centre to control the parameters of an external device (outgoing), and conversely you can use an external device to control the control centre (incoming). Also, by using the unique ‘internal’ event option, you can trigger events from within the show le itself. All this is done by creating events in scenes/point scenes.

You can have any number and types of events in any scene/point scene, and event parameters are set up and edited in an Edit Event window. Similarly to scenes/point scenes, you can skip events during rehearsals.

To aid event management, a menu opens when you right-click a scene/point scene or event. The menu options allow you to create, edit and copy events. Click an option to select it.

>> To create an event

Select the scene in which you want to create the event, and then do one of the following:

•

• Click the ADD GPIO, ADD INTERNAL or ADD MIDI button

as necessary

•

• From the ‘right-click’ menu, choose Add > Midi Event,

Add > Internal Event or Add > GPIO Event as necessary.

>> To edit an event

1. Open the Edit Event window by doing one of the following:

•

• Right-click the event you want to edit and then choose Edit from the

right-click menu

•

• Select the event you want to edit and then click EDIT.

2. In the Edit Event window, choose your options as necessary. For example, you can use a program change to trigger the event.

3. Click CLOSE to close the Edit Event window.

38 PRO X

>> To copy and paste an event

1. Right-click the event you want to copy, and then choose Copy from the menu.

2. Select the scene in which you want to paste the copied event. Or, if the scene already contains an event(s), select the event after which you want to paste the copied event.

3. Right-click to open the menu, and then choose Paste.

Show editor

The Show Editor screen lets you very easily copy and paste settings through scenes.

The panel at the far left of the Show Editor screen shows the sources, such as channels, GEQs and e ects, from which you can copy the settings. The Sections panel in the centre of the screen contains source sections that you can copy to the scene(s). At the far right of the screen is the Scenelist panel, which is a cue list of the current show.

>> To open the Show Editor screen

Do one of the following:

•

• From the GUI menu, choose home > Automation > Show Editor

•

• At the Automation screen, click SHOW EDITOR.

>> To copy and paste sections to a scene(s)

1. In the Show Editor screen, click the sources that contain the sections you want to copy to a scene(s). These are in the far left panel of the screen. You can choose any combination of inputs, aux returns, aux sends, matrices, GEQs, e ec ts and masters.

2. In the Sections panel, click the boxes of the sec tions that you want to copy. Ticked options will be copied.

3. In the Scenelist panel, click the scene(s) in which you want to paste the sections. You can use the buttons at the bottom of the list to help you, as follows:

4. Click ALL to select all of the scenes in the list

5. Click NONE to deselect all selected scenes.

6. Click PASTE TO SCENES.

Saving Your Show Files To A USB Memory Stick

When you are satis ed that your show  le 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  le stored in the internal memory of the control centre be lost, for example, due to inadvertent deletion.

You can also load show  les onto the control centre from the same storage device.

>> To save (export) a show  le to a USB memory stick

1. If necessar y, close and save the show  le you want to export; you can’t export a show  le that is open.

2. Insert the USB memory stick into the active USB socket, which is the one with the active LED. For example, USB key 2.

3. Do one of the following:

•

• At the GUI, choose home > Files

•

• In the primary navigation zone, press the automation/ ling screen

access button twice.

4. You may see an “Analysing...” message in the Removable Storage panel, which means that the MIDAS folder on the USB memory stick is being read. Wait for the message to clear. Then, in the Control Surface panel, click the show  le you want to copy.

5. Click EXPORT.

6. In the Are You Sure you Want To Export? message window, click OK. The  le will start copying to the USB memory stick.

7. When your show  le appears in the Removable Storage panel, it has  nished copying to the USB memory stick. Remove the USB memory stick.

>> To load (import) a show  le from a USB memory stick

The procedure is similar to the expor t procedure, as detailed in To Save (Export) A Show File To A USB Memory Stick, but selec t the  le to be imported to the control centre from the Removable Storage panel and then click IMPORT.

Using Copy And Paste

The copy and paste buttons (upper-right corner of GUI) let you copy the parameters of one/all of a single channel’s processing area(s) — such as the EQ, compressor, gate etc. — and paste them to one/all of the channels of a similar type.

>> To copy a processing area to a channel/all channels

1. If necessar y, navigate the channel’s processing area to the channel strip (see To Select A Processing Area).

2. Click copy.

3. Do one of the following:

•

• To copy the processing area to another channel, select the channel

and then click paste. (As the copied parameters are still stored, you can paste to as many channels as you want)

•

• To copy the processing area to all other channels, right-click paste to

open its menu, then choose Paste To All.

>> To copy all parameters to a channel/all channels

1. If necessar y, select the channel from which you want to copy all of the processing areas.

2. Right-click copy to open its menu, and then choose Copy All.

3. Do one of the following:

•

• To copy the parameters to another channel, select the desired channel

and then click paste

•

• To copy the processing area to all other channels, right-click paste to

open its menu, then choose Paste To All.

Copy and paste rules and restrictions

•

• You can only copy and paste similar functions. For example, you can’t

copy the input EQ from one channel to the output EQ of another, as they are di erent

•

• You can only copy and paste across similar channel types.

For example, you cannot copy from an aux and paste to a matrix

•

• Copying and pasting across inputs is restricted to the input bays only

•

• Channel names are not copied

•

• Compressor and gate side chain listen cannot be copied.

39Quick Start Guide

User Library (Presets)

The control centre has a user library where you can store settings, such as for the EQ or the whole channel. For example, you may wish to store the EQ set tings 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  les are managed via a Preset Manager screen on the GUI. Here, you can create new libraries, load existing libraries, save the current librar y or give it a new name. You can also delete presets from the library.

Before you can save/load a preset, you need to create a new preset library or open an existing one. To create a new one, open the Preset Manager screen (cho ose home > Preset Manager) and click New. Then, after t yping in the details in the Enter new Librar y name window, click OK.

>> To save a preset to the user library

1. Make sure that the settings you want to save are assigned to the channel strip, then click store preset. If the channel’s overview is displayed, all of its settings will be saved in the preset. Otherwise, just the settings of the displayed processing area will be saved.

2. In the Save Preset window (shown right), type in your chosen preset name (Preset Name), your name (Preset Author) and any note (Notes) as necessary.

3. Click OK.

>> To load a preset

1. Make sure that the channel section in which you want to load the settings of the preset is assigned to the channel strip, then click load preset.

2. In the Load Preset window, click the desired preset.

3. Click OK.

Surround Panning

In addition to stereo, the control centre 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 in real time when you operate the panning controls.

The surround panning modes are operated via a surround moni toring system, which uses matrix channels 1 to 6 as the sur round bus channels. The channels are muted via six MUTE buttons in the mas ter bay. Control centre monitor output connections are via the surround, sub, centre and front XLRs on the rear panel.

The 5.1 panning mode uses all six channels, while quad mode uses four (left and right on both the front and surround). Although the LCRS mode uses  ve channels (front left and right, centre and surround left and right), both surround channels are the same. (In an LCRS surround panning arrangement, you can have a single surround speaker positioned directly behind the listener.)

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.

The diagram below shows the location of the surround MUTE buttons and their matrix channel allocation, and shows the allocation of the surround MUTE buttons per loudspeaker and the recommended1 5.1 surround system con guration.

>> To select the surround panning mode

1. At a GUI screen, choose ho me > Preferences > General to open the Preferences screen.

Matrix channels

1 2 5 63 4

40 PRO X

2. In the Surround Mode section, selec t the desired surround mode.

Two-M an Ope ration

The control centre can be operated by t wo people simultaneously. In this mode of operation the 4-channel input bay is designated as area B, and operates independently of the 12-channel input bay, which is always area A. (You can have the same channel selected simultaneously in both bays.)

NOTE: This feature can also be used by a single operator if they require somewhere to store important channels. In this case, area B can be used in the same way a ‘channel 25’ would be used on an analogue console.

The diagram above shows the areas designated as A and B during t wo-man operation and also shows the location of the area B button. All other part s of the control surface are common to both areas.

Area A Area B

41Quick Start Guide

VCA/POP groups can be pre-selected to populate area A or B, and a single group of inputs can have members in both areas of the control surface. An operator can then recall them to their own area to work on.

NOTE: Wwhen operating in area B, remember to select the B option, where appropriate, particularly in the monitor section. Also note that solo B (also for talkback) is totally independent of area B, which is used for navigation only.

>> To set up the control centre for two-man operation

In the input select section of the master bay, press B (see above).

External AES50 Synchronisation

If you want to connect AES50 audio bet ween two MIDAS digital consoles the slave console must be set to external AES50 synchronisation, irrespective of the synchronisation source of the master console.

Consol e 2 Sync Setting

Console 1 Sy nc Setting Master Word Cloc k AES3 Exter nal AES50 from Conso le 1

Master Not Val id Not Val id Not Val id Valid C onnect ion Word Clock Not Valid Not Va lid Not Va lid Valid Connec tion

AES3 Not Val id Not Val id Not Val id Valid C onnect ion Extern al AES50 from Console 2 Valid Connect ion Valid Connection Valid Connection Not Valid

A valid connection can be a tie line between the stage routers or any I/O unit with internal click, or a mic split which is receiving sync on the opposite por t.

Security (Locking Mode)

If you need to leave the control centre unattended, but you want to preserve its current state of operation, you can lock it via the GUI menu. This will prevent unauthorised adjustment of its settings. When locked the GUI displays the ‘splash’ screens (shown during the start up sequence) and none of the controls on the control surface will f unction; the control centre will be totally locked out.

>> To lock the control centre

At the GUI, choose home > Lock.

>> To unlock the control centre

At the GUI, click UNLOCK. This button is in the lower-left corner of both GUI screens. For securit y, this button has been designed to blend in with the background to disguise it. When unlocked, the control centre will rever t to the state it was in the last time it was locked.

Setting Up The System

Unpacking The Equipment

After carefully unpacking the equipment, save all packing materials, as they will prove useful should it become necessary to transpor t the equipment later.

Inspect the equipment carefully for any sign of damage incurred during transportation. It has undergone stringent quality control inspection and tests prior to packing and was in perfect condition when it left the factory. However, if the equipment shows any signs of damage, notify the transportation company without delay. Only you, the consignee, may institute a claim against the carrier for damage during transportation.

Making Up A Rack

In the standard supply, the rack supplied with the your system is fully  tted with the Neutron DSP Engine unit and the I/O unit(s) appropriate for your system.

Wiring Instructions

Powering the system

The following details the recommended power up and power down procedures for the system.

NOTE: If you are in any doubt as to how to switch the rack units on/o , refer to their operator manuals.

>> To power up the system

Important Note:

DO NOT switch on the speaker sub-system until after the star t-up of the system has been completed.

After all system interconnec tions have been made (see Wiring Instructions), start up the system by doing the following:

1. Make sure that all of the system equipment is switched o , such as the control centre, speaker sub-system, Neutron DSP Engine unit and I/O unit(s).

2. Switch on the control centre (see To Switch On The Control Centre).

3. In the master bay of the control centre, move all of the monitor and master channel faders to the minimum position and mute all of the master channel.

4. Power up the other system equipment, such as the Neutron DSP Engine unit and I/O unit(s). This can be done in any order you like.

5. After the status indicator at the top of each GUI screen has changed to green, switch on the speaker sub-system.

6. Switch on the audio source and start playing the audio.

7. On the control centre, check that the audio input s are routed to the master channels. Then, unmute the master channels and gradually increase their faders while listening to the sound levels from the speakers.

If there is no sound at all coming from the speakers when the faders are at maximum, move the faders to below the 0dB level and check if the audio is muted somewhere along the input paths and also check that the individual speakers are switched on. If there is still no sound from the speakers, see No Audio.

>> To power down the system

Important Note:

BEFORE switching o any of the system components, don’t forget to mute the audio from the speakers and switch o the speaker sub-system.

1. Mute the audio from the speakers and switch o the speaker sub-system.

2. Switch o the I/O unit(s).

3. Switch o the Neutron DSP Engine unit.

4. Switch o the control centre (see To S witc h O The Control Centre).

42 PRO X

Switching The Control Centre On/O

Carry out the following to switch the control centre on or o in a safe manner, observing all WAR NINGS and Cautions.

>> To switch on the control centre

Caution (1)!

A minimum of two power supply modules must be

supplying power to the control centre for correc t operation.

Caution (2)!

Before switching on, check that all monitor loudspeaker

power ampli ers are turned o or muted.

After connecting up the audio cables, carry out the following:

1. Plug the three mains cables into the mains power outlets.

2. Observing Caution (1)! above, plug the connectors (see Wiring Instructions) of the mains cables into the mains sockets on the rear of the control centre. (The green LED next to each mains socket will illuminate if its mains supply is on.)

3. Observing Caution (2)! above, apply power to the control centre by switching the D.C. POWER switch on. The control centre will boot up and, when the default GUI screens are displayed, it is ready for use.

>> To switch o the control centre

1. Make sure you have saved any shows, scenes or set tings you require (see Saving Your Show Files To A USB Memory Stick).

2. At the GUI, choose home > Preferences > Shutdown System.

3. At the Shutdown ENTIRE system? prompt, click OK.

4. After the shutdown sequence has  nished, switch o the D.C. POWER switch (rear of control centre).

5. Disconnect the mains cables from the rear of the control centre.

Setting Up The ID Of The Unit(s)

After connecting up your system, you may need to set up the ID of the unit(s) in the rack, such as the Neutron DSP Engine, as each unit must have its own unique ID number.

NOTE: The I/O unit doesn’t have to be connected in the system for you to set up its ID, as the procedure can be carried out o ine.

>> To set up the ID of a unit

Although the programming menu of each type of I/O unit may look slightly di erent, the procedure for setting up its ID is basically very similar. For full instructions on how to set up the ID of each particular I/O unit, refer to its operator manual.

1. If necessar y, switch on the I/O unit.

2. Press MENU and hold for approximately two seconds to enter the main menu.

3. If necessar y, use the down arrow button to navigate to the set ID option.

4. Press SELEC T to enter the set ID option.

5. If necessar y, use the down arrow button to navigate to the desired ID number.

6. Press SELECT to select the ID number.

7. Press MENU repeatedly to exit the main menu. (The unit will automatically exit programming mode af ter 20 seconds of inactivity, that is, if none of the programming buttons are pressed within that time.)

43Quick Start Guide

Appendix A: Troubleshooting

No Audio

If you have set up your system 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 input fast strips are on

•

• Make sure the appropriate ST buttons in the source a/b panels

(monitors section of the master bay) are on

•

• Make sure nothing is muted

•

• Make sure no faders are set to minimum

•

• Check that the VCA/group master faders are at unity gain

•

• Use solo at selected points in the signal path to try and pinpoint

where the signal is being lost

•

• Check for correct signal routing by making sure channel sources/

destinations are correctly assigned.

If you still don’t have any audio, contact MIDAS Technical Support.

Diagnostics

You can view the Diagnostics screen to get an overview of the current health and status of the system. The Diagnostics screen shows real-time connec tivity of the system, the health of connected nodes and whether a device is con gured or not.

The status LED at the top of the screen, which is constantly displayed while the control centre is switched on, is linked to the status of individual items on the

Diagnostics screen. You can click on it to see what is causing the error.

Item Element(s) Desc ription

1 CONFIG butto n Opens the AES50 Device Co n guration window.

2 Column titles

The columns house the f ollowing: Uncon gured contains any unit s that have not been con g ured during the patching proce dure; Con gured contains con gured units; Link show s the router/unit connection; Stage Router/FOH Rou ter contains the appropriate router and any ass ociated rack units; and HyperMAC shows the r outer/router connec tions.

44 PRO X

The colour of each device, together with its link (if applicable), indicates its current status, as shown in the following table.

State D escription Unit Statu s Link Statu s Connec tion of Active Li nk

Both the unit and li nk are green Good Good Good

Unit is green and the li nk is red Good Bad Not known

Unit is red and the link is g reen Malfunct ion Good Not known

Both the unit and lin k are red Not known Bad Bad

There is also an amber condition, which means that the item(s) is in error, but the error does not a ect the audio.

Viewing the status of the master controllers is particularly important, especially when you wish to swap the active master controller (see Swapping The Active Master Controller), as it shows you which master controller is currently controlling the network.

Swapping The Active Network

In the highly unlikely event that the active network (X or Y) develops a malfunction, you can swap over to the standby network, making this the active one.

NOTE: The swap function does not swap control data, as this non-audio data  nds its own way through the network. This allows the router to swap to the inactive link, even if the active link is broken or removed.

>> To check the health of the active net work

At the GUI, open the Diagnostics screen by choosing home > Diagnostics, and then check the status of the active HyperMAC link. If it is green the link is good, but if it is red there is a problem and you should swap to the standby HyperMAC link.

Swapping The Active Master Controller

Although it is highly unlikely that the active master controller (MC) will develop a malfunction, should it ever happen you will need to activate the standby MC.

>> To swap the active master controller

1. At the GUI, choose home > Files.

2. Click FILE SYNC.

3. In the Master Controller File Synchronisation window, click the

MAKE ACTIVE button of the standby MC. This will become the active one.

Appendix B: Technical Speci cations

System Speci cations

Sampling Frequency 96 kHz Latency De lay < 2 mS Input to Master (no compens ation) DynamicR ange 106 dB 22 Hz – 22 kHz (no pre- emphasis)

Maximum Vol tage Gain

80 dB Inputs to Sub Gro ups and Masters 86 dB Inputs to Aux an d Matrix

Crossta lk @ 1 kHz -100 dB physically adjacent input channels Crossta lk @ 10 kHz -90 dB physically adjacen t input channel Fader/Pan cut o @ 1 kHz -10 0 dB Fader/Pan cut o @ 10 kHz -10 0 dB Power Requirements 100-240 V a.c. ±10% 50-6 0 Hz Operating Temperature Range +5 to +45 degrees C StorageTemper ature Range -20 to +60 degrees C

45Quick Start Guide

Audio Performance Speci cations

Freque ncy Respons e

Input Output Gain 20 Hz 20 kHz

Surface I/O Surfa ce I/O 0 dB 0 dB to -1.0 dB 0 dB to -1.0 dB Surface I/O Surfa ce I/O 40 dB 0 dB to -1.0 dB 0 dB to -1.0 dB

Gain Err or at 1 kHz

Input Output Gain Max. Min.

Surface I/O 251 I/O Box 0 dB +1.0 dB -1.0 dB Surface I/O 251 I/O Box 40 dB +1.0 dB -1.0 dB

Input CMRR ( Typical)

Input Output Gain 100 Hz 1 kHz

Surface I/O Surfa ce I/O 0 dB 6 0 dB 60 dB Surface I/O Surfa ce I/O 40 dB 90 dB 90 d B

Distor tion at 0 dBu

Input Output Gain 1 kHz 10 kHz

Surface I/O Surface I/O 0 dB 0.01% 0.01% Surface I/O Surfa ce I/O 40 dB 0.03% 0.03%

Distor tion at +20 dBu

Input Output Gain 1 kHz 10 kHz

Surface I/O Surface I/O 0 dB 0.01% 0.01% Surface I/O Surfa ce I/O 40 dB 0.03% 0.03%

Mixing No ise (all bus types) 22-22 kHz Unweig hted

No. of Inputs Gain Fade r Pos Pan Output Nois e

12 0 dB - in n central -91 dBu 12 0 dB 0 dB central -78 dBu 24 0 dB - in n central -91 dBu 24 0 dB 0 dB central -78 dBu

Mixing No ise (all bus types) 22-22 kHz Unweig hted

48 0 dB - in n central -91 dBu 48 0 dB 0 dB central -78 dBu

Signal Pat h Noise 22-22 kHz Unweighted (inp uts 150 R terminated)

Input Output Gain Output Noise EIN

Surface I/O Surfa ce I/O 0 dB -85 d Bu -85 dB u Surface I/O Surfa ce I/O 45 dB -81 dBu -126 dBu

Dynamic R ange 22-22 kHz Unweighted

Input Output Gain Max Output Dynamic Range

Surface I/O Surfa ce I/O 0 dB +21 dBu 106 dB Surface I/O Surfa ce I/O 45 dB +21 dBu 102 dB

46 PRO X

System In puts and Outp uts

Control Surf ace Input Connector 3 pin XLR balanced AD Converter 24 bit, 96 kHz and 128 X oversamplin g Control Sur face Analogue Outputs Conn ector 3 pin XLR balanced DA Converter 24 bit, 96 kHz and 128 X oversamplin g MIDI Connector In, Out and Thru on 5 pi n DIN

Contro l Surface Dig ital System Inpu ts and Output s

System Connec tor 3 X AES50 (24 channels of bidirec tional digital audio) on EtherCON XLR Word Clock IN Connec tor BNC Word Clock OUT Connec tor BNC AES3 Sync IN Connec tor 3 pin XLR AES3 Sync OUT Connec tor 3 pin XLR

Contro l Surface Anal ogue Audio Syst em Inputs

Connector 3 pin XLR balanced AD Converter 24 bit, 96 kHz and 128 times over samp ling Talkback Connector 3 pin XLR balanced line Talk Connector 3 pin XLR balanced mic wi th 48 V phantom

Contro l Surface Anal ogue Audio Syst em Outputs

Connector 3 pin XLR balanced DA Converter 24 bit, 96 kHz and 128 times over samp ling Monitor Connec tor 3 pin X LR balanced line Talk Connector 3 in XLR balanced line Headphone Connec tor ¼ inch Jack (stereo)

Contro l Surface Dig ital Audio Syste m Inputs and Out puts

Input Connec tor AES3 (two channels of dig ital audio) on 3-pin XLR Sample Rates Accepts any frequ ency 32 kHz – 96 kHz Bypass Sample rate conver ter can be bypassed Output Connec tor AES3 (two channels of digital audio) on 3-pin XLR Sample Rate 48 K, 96 K or auto tra cking to Inputs Bypass Sample rate conver ter can be bypassed

Contro l Surface Dig ital Audio Syste m Inputs and Out puts

Word length 16, 20 or 24 bit  

Contro l Surface Cont rol Data SystemIn putsand Outp uts

System Connec tor EtherCON XLR

Control S urface Misc I nputs and Outp uts

Monitor Outp ut Connector 3 row 15 pin D TYPE – analogue VGA USB Host Connec tion USB 2.0 full speed (12.0 Mbs)

5 V, 1 A max load

47Quick Start Guide

Input & Output Characteristics

Analogu e Input Charac teristics

Input Type Load Z Gain Max Level Conn ector

Surface I/O 10 K -22.5 dB to +65 dB +21 dBu XLR Talk Mic 60 0 R +15 dB to +60 dB +6 dBu XL R Monitor 10 K 0 dB +21 dBu XLR

Analogu e Output Charac teristic s

Output Type Source Z Gain Max Level Connector

Surface I/O 50 R 0 dB +21 dBu XLR Talk 50 R 0 dB +23 dBu XLR Monitor 50 R 0 dB +23 dBu XLR Headphones 10 R +10 dB +21 dBu ¼ inch jack

Digita l I/O Character istics

Type Channels Data Length I/O Description Notes Connector

AES3 2 24 bit input conforms to AE S3 -2003 XLR AES3 2 24 bit output confor ms to AES3 -2003 XLR AES50 24 24 bit bi directional conforms to AES50 -2006 EtherCON XLR

Misc Dig ital Charact eristics

Type I/O Description Notes Connector

Word Clock IN Accept s TTL level, 96 kHz square wave; impedance 75 Ohms BNC Word Clock OUT Prov ides a TTL level, 96 kHz square wave BNC AES Sync IN Acce pts a digital audio signal confor ming to AES3 -2003 at 96 kHz XLR AES Sync OUT Prov ides a grade II reference signal con forming to AES3 – 2003 at 96 kHz XLR

48 PRO X

Appendix C: Dimensions

PRO X is built around a road rugged frame:

Width 1364 mm x Depth 945 mm x Height 431 mm (53.7" x 37.2" x 17.0")

Weight: 97 kg (213.4 lbs)*

*Weights are a pproximate and out o f  ight c ase. Packing may var y by territory

Quick Start Guide 49

Other important information

1. Register online. Please re gister your new MUSIC Group equipme nt right after you purchase i t by visiting midasconso les. com. Regis tering your purchase using our simple online f orm helps us to process your repair claims more quick ly and e c iently. Also, read the terms and conditions of ou r warranty, ifapplicable.

2. Malfunction. Should your MUSICGroup Authorised R eseller not be located in your vic inity, you may contact th e MUSIC Group Authorised Ful ller for your country liste d under “Support” at midas consoles. com. Shouldyour countr y not be listed, please check i f your problem can b e dealt with by our “OnlineSuppor t” which may also be found unde r “Support” at midascon soles. co m. Alternatively, please submi t an online warranty claim at midasconsoles. com BEFORE returning thepro duct.

3. Power Connections. Before plu gging the unit into a power socket, p lease make sure you are using the correct ma ins voltage for your parti cular model. Faultyfuses must be replace d with fuses of the same t ypeand rating without exception.

1. Registro online. Le recomendamos que registre su nuevo aparato MUSIC Grou p justo después de su compra accediendo a la página web m idasconsoles. com. Elregistro de su compra a través de nu estro sencillo sistema online n os ayudará a reso lver cualquier incidencia que s e presente a la mayor brevedad posi ble. Además,aproveche para lee r los términos y condici ones de nuestra garantía, si es aplic able en sucaso.

2. Averías. En el caso de que no exista un dis tribuidor MUSIC Group en las inmed iaciones, puede poners e en contacto con el d istribuidor MUSIC Group de su país, queencontrar á dentro del apartado “ Support” de nues tra página web

midasconsoles. com

. En caso de que su país n o aparezca en es e listado, acceda a la sección “Online Suppo rt” (quetambiénencont rará dentro del apart ado “Support” de nuestra pág inaweb) y compruebe si su problema aparece descrito y so lucionado allí. De forma alternati va, envíenos a través de la página web u na solicitud online de sopor te en periodo de gara ntía ANTES de devolvernos el apara to.

3. Conexiones de corriente. Antes de enchufar este aparato a una s alida de corriente, asegúrese d e que dicha salida sea de l voltaje adecuado para su modelo concreto. En caso d e que deba sustituir un fusible que mado, deberá hacerlo po r otro de idénticas especi cacione s, sinexcepción.

1. Enregistrez-vous en ligne. Prenez le temps d’enregistrer vot re produit MUSIC Group aussi vite que possible sur le site Interne t midasconsoles. com. Le fait d’enregistrer le p roduit en ligne nous permet de g érer les réparati ons plus rapidement et plus e cacement. Prenezégalement le te mps de lire les termes et conditions de notre garantie.

2. Dysfonctionnement. Si vous n’avez pas de revendeur MUSIC Group p rès de chez vous, contactez l e distribute ur MUSIC Group de votre pays: consultez la liste des distrib uteurs de votre pays dans la page “Supp ort” de notre site Internet mi dasconsoles. com. Si votre pays n’est pas dans la liste, ess ayez de résoudre votre problème ave c notre “aideen ligne” que vo us trouverez également dans la section “Su pport” du site midascons oles. com. Vous pou vez également nous f aire parvenir direc tement votre demande de réparation sou s garantie par Internet sur le site midasconsoles. com AVANT de nous renvoyer le produit.

3. Raccordement au secteur. Avant de relier cet équipement au s ecteur, assurez-vous que la tension secteur de vo tre région soit compatible ave c l’appareil. Veillez à remplacer les f usibles uniquement par des modè les exactement de même taille et de même valeur électrique — sans aucune exception.

1. Online registrieren. Bitte registrie ren Sie Ihr neues MUSIC Group -Gerät direkt nach dem Kau f auf der Website midasconsoles. com. Wenn Sie Ihren Kauf mit unserem einf achen online Formular regis trieren, können wir Ihre Rep araturansprüche schn eller und e zienter bearbeiten. Lesen Sie b itte auch unsere Garantiebedingungen, fallszutre end.

2. Funktionsfehler. Sollte sich kein MUSICGroup Händler in Ihrer Nähe be  nden, können Sie den MUSICGroup Vertri eb Ihres Landes kontakt ieren, derauf midasconsoles. com unter „Support “ aufgeführt ist. Sollte Ihr Land nich t aufgelistet sein, prüfen Sie bi tte, ob Ihr Problem von uns erem „Online Support“ g elöst werden kann, den Sie eben falls auf mida sconsoles. com unter „Suppor t“  nden. Al ternativ reichen Sie bitte Ihr en Garantieanspruc h online auf midasconsoles. com ein, BEVOR Sie das Produk tzurücksenden.

3. Stromanschluss. Be vor Sie das Gerät an eine Netz steckdose anschließe n, prüfen Sie bitte, obSie die korrekte N etzspannung für Ihr spezie lles Modell verwenden. Fehlerhafte Sicherungen müssen ausnahmslos durch Sicheru ngen des gleichen Typs und Nennwert s ersetztwerden.

1. Registre-se online. Por favor, regis tre seu novo equipamento MUSIC Gr oup logo após a compra visitando o site midasconsoles . com Regist rar sua compra usando nosso simples fo rmulário online nos ajuda a process ar seus pedidos d e reparos com maior rapidez e e ciência. Além disso, leia nossos ter mos e condições de garantia, caso seja necessário.

2. Funcionamento Defeituoso.

Casoseuforn ecedor MUSIC Group não esteja localiz ado nas proximidades, você p ode contatar um distribuidor MUSIC Group para o seu p aís listado abaixo de “Supor te” emmidasconsole s. com. Se seu p aís não estiver na lista, favorche car se seu problema pode s er resolvido com o nosso “Supor te Online” que também pode s er achado abaixo de “Suporte”em midasconsoles. com. Alternativamente, f avor enviar uma solicitação de garantia online em midasconsol es. com ANTE S da devolução do produto.

3. Ligações. Antes de li gar a unidade à tomada, assegure- se de que está a utilizar a vol tagem correcta para o modelo em ques tão. Os fusíveis com defeito terã o de ser substitu ídos, sem qualquer excepção, por fusí veis do mesmo tipo e corren te nominal.

1. ヒューズの格納部/電圧の選択:

ユニットをパワーソケットに接続する前に、各モデルに対応した正しい主電源を使用していることを確認してください。ユニットによっては、

230 Vと120 Vの2つの違うポジ

ションを切り替えて使う、ヒューズの格納部を備えているものがあります。正しくない値のヒューズは、絶対に適切な値のヒューズに交換されている必要があります。

2. 故障:MUSIC Groupディーラーがお客様

のお近くにないときは、midas consoles. comの “Support”内に列記されている、お客様の国のMUSICGroupディストリビューターにコンタクトすることができます。お客様の国がリストにない場合は、同じmidasconsoles. com の“Support”内にある“OnlineSupport”でお客様の問題が処理できないか、チェックしてみてください。あるいは、商品を返送する前に、midasconsoles. comで、オンラインの保証請求を要請してください。

3. 電源接続:電源ソケットに電源コードを

接続する前に、本製品に適切な電圧を使用していることをご確認ください。不具合が発生したヒューズは必ず電圧および電流、種類が同じヒューズに交換する必要があります。

Important information

Aspectos importantes

Informations importantes

Weitere wichtige Informationen

Outras Informações Importantes

その他の重要な情報

50 PRO X

1. 在线注册。请购买 MUSIC Group 产品后立即在

midasconsoles. com 网站注册。网页上有简

单的在线注册表格。这有助于我们更快更有效率地处理您维修等事宜。请阅读保修的相关条款及条件。

2. 无法正常工作。若您的

MUSIC Group 产品

无法正常工作, 我们会为您尽快修复。请联系您购买产品的销售商。若你所在地区没有

MUSIC Group 销售商, 请联系 midasconsoles. com

网站的 “WHERETOBUY” 一栏下的所列出的子公司或经销商。

3. 电源连接。将本设备连接电源前, 请确保使用的电压正确。保险丝需要更换时, 必须使用相同型号及定额的保险丝。

其他的重要信息

Other important information

Quick Start Guide 51

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION

Responsible Part y Name: MUSIC Group Research

UK Limited

Address: Klark Industrial Park,

Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England.

Phone Number: +44 1562 741515

PRO X

complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tes ted and found to comply with the limits for a Class A digital device, pursuant to Par t 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmf ul interference when the equipment is operated in a commercial enviro nment. This equipment generates, uses, and can radiate radio frequency energy and, if not ins talled and used in accordance with the instruct ion manual, may cause harmful interference to radio communic ations. Operation of this equip ment in a residential area is likely to cause harmful interference in which c ase the user will be required to correct the interference at his own expense.

Important information:

Changes or modi cations to the equipment not ex pressly approved by MUSIC Group can void the user ’s authority to use t he equipment.

PRO X

midasconsoles.com

Midas PRO X Quick Start Manual

Specifications and Main Features

Frequently Asked Questions

User Manual