Midas Consoles PRO1-IP, PRO1-TP Operator Manual

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PRO1 Live Audio System

Owner’s Manual

MUSIC Group Research UK Limited,

Klark Industrial Park,

Walter Nash Road,

Kidderminster.

Worcestershire.

DY11 7HJ.

England.

Tel: +44 1562 741515

Fax: +44 1562 745371

Email: mkt.info@music-group.com Website: www.midasconsoles.com

PRO1 Live Audio System — Owner’s Manual

DOC02-DL1SERIES Issue B — November 2012

guaranteed. MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com).

Owner’s Manual iii

Important safety instructions

CAUTION

ATTENTION

RISK OF ELECTRIC SHOCK!

DO NOT OPEN!

RISQUE DE CHOC ELECTRIQUE!

NE PAS OUVRIR!

Important safety instructions

Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute

risk of electric shock. Use only high-quality commercially-available speaker cables with ¼" TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel.

This symbol, wherever it appears,

alerts you to the presence of

uninsulated dangerous voltage

inside the enclosure - voltage that may be sufficient 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 qualified personnel.

Caution

To reduce the risk of fire 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 filled with liquids, such as vases, shall be placed on the apparatus.

Caution

These service instructions are for

use by qualified service 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 qualified 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 amplifiers) 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 fit 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 specified by the manufacturer.

12 Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used,

use caution when moving the cart/apparatus combination to avoid injury from tip-over.

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

14 Refer all servicing to qualified 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.

Legal disclaimer

Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed. MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com). All trademarks are the property of their respective owners. MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colours and specifications may vary slightly from product. Midas products are sold through authorized dealers only. Distributors and dealers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by

any express or implied undertaking or representation. This manual is copyrighted. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of MUSIC Group IP Limited

Limited warranty

§ 1 Warranty

1. This limited warranty is valid only if you purchased the product from a MUSIC Group authorized dealer in the country of purchase. A list of authorized dealers can be found on MUSIC Group's website www.midasconsoles.com, or you can contact the MUSIC Group office closest to you.

2. MUSIC Group* warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of three (3) years from the original date of purchase (see the Limited Warranty terms in § 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specified warranty period and that defect is not excluded under § 4, MUSIC Group shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts. In case MUSIC Group decides to replace the entire product, this limited warranty shall apply to the replacement product for the remaining initial warranty period, i.e., three (3) years (or otherwise applicable minimum warranty period) from the date of purchase of the original product.

3. Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group.

4. Warranty claims other than those indicated above are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE.

§ 2 Online registration

Please do remember to register your new Midas equipment right after your purchase at www.midasconsoles.com and kindly read the terms and conditions of our limited warranty carefully. Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation!

MUSIC Group IP Limited

iv PRO1 Live Audio System

§ 3 Return materials authorization

1. To obtain warranty service, please contact the retailer from whom the equipment was purchased. Should your MUSIC Group dealer not be located in your vicinity, you may contact the MUSIC Group distributor for your country listed at www.midasconsoles.com. If your country is not listed please contact the “United Kingdom (Midas/ KT main office)” located under “Service Service/Repairs” on the www.midasconsoles.com website. Alternatively, please submit the online warranty return form found under “Service  Warranty Registration” on www.midasconsoles.com BEFORE returning the product. All enquires must be accompanied by the description of the problem and the serial number of the product. The warranty eligibility will be verified from the original sales receipt.

2. Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by MUSIC Group.

3. Shipments without freight prepaid will not be accepted.



§ 4 Warranty Exclusions

1. This limited warranty does not cover consumable parts including, but not limited to, fuses and batteries. Where applicable, MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase.

2. This limited warranty does not cover the product if it has been electronically or mechanically modified in any way. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. This limited warranty does not cover any such modification/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, MUSIC Group shall not be held responsible for any cost resulting from such a modification/ adaptation.

3. This limited warranty covers only the product hardware. It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided "AS IS" unless expressly provided for in any enclosed software limited warranty.

4. This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product.

5. Free inspections and maintenance/repair work are expressly excluded from this limited warranty, in particular, if caused by improper handling of the product by the user. This also

applies to defects caused by normal wear and tear, in particular, of faders, crossfaders, potentiometers, keys/buttons, guitar strings, illuminants and similar parts.

6. Damage/defects caused by the following conditions are not covered by this limited warranty:

• improper handling, neglect or failure to operate the unit in compliance with the instructions given in Midas user or service manuals;

• connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used;

• damage/defects caused by acts of God/ Nature (accident, fire, flood, etc) or any other condition that is beyond the control of MUSIC Group.

7. Any repair or opening of the unit carried out

by unauthorised personnel (user included) will void the limited warranty.

8. If an inspection of the product by MUSIC

Group shows that the defect in question is not covered by the limited warranty, the inspection costs are payable by the customer.

9. Products which do not meet the terms of this

limited warranty will be repaired exclusively at the buyer's expense. MUSIC Group or its authorized service centre will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, MUSIC Group will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order.

10. Authorized MUSIC Group dealers do not sell

new products directly in online auctions. Purchases made through an online auction are on a "buyer beware" basis. Online auction confirmations or sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the original buyer (customer of authorized retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to give any warranty promise on behalf of MUSIC Group.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable local laws, MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind. In no event shall the liability of MUSIC Group under this limited warranty exceed the invoiced value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive warranty between you and MUSIC Group. It supersedes all other written or oral communications related to this product. MUSIC Group provides no other warranties for this product.

§ 8 Other warranty rights and national law

1. This limited warranty does not exclude or limit the buyer's statutory rights as a consumer in any way.

2. The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws.

3. This warranty does not detract from the seller's obligations in regard to any lack of conformity of the product and any hidden defect.

§ 9 Amendment

Warranty service conditions are subject to change without notice. For the latest warranty terms and conditions and additional information regarding MUSIC Group's limited warranty, please see complete details online at www.midasconsoles.com.

* MUSIC Group Macao Commercial Offshore Limited of Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all MUSIC Group companies

MUSIC Group IP Limited

Licences

The following are the license agreements applicable to the Midas Digital Equipment.

End-User Licence Agreement for Midas™ and Klark Teknik™ Software

IMPORTANT - Please read this document carefully before using this Midas™ or

Klark Teknik™ Product. This is an agreement governing your use of software or

other machine instructions already installed on this Midas™ or Klark Teknik™

Product, as well as other software that we provide for installation on this Product.

The Midas™ or Klark Teknik™ Product will not operate in accordance with its

documentation without this software.

THIS AGREEMENT ("AGREEMENT" OR "LICENCE") STATES THE TERMS AND CONDITIONS UPON WHICH MUSIC GROUP IP LTD. ("COMPANY") OFFERS TO LICENSE THE INSTALLED FIRMWARE, SOFTWARE AND/OR PROGRAMS ("the SOFTWARE") WITH THE MIDAS™ OR KLARK TEKNIK™ CONSOLE OR SIGNAL PROCESSING PRODUCT ("PRODUCT") IN WHICH IT HAS BEEN INSTALLED BY, OR FOR WHICH IT IS PROVIDED BY, THE COMPANY. BY USING THIS PRODUCT YOU WILL BE AGREEING TO BECOME BOUND BY THE TERMS OF THIS LICENCE. IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENCE, DO NOT USE THIS PRODUCT AND PROMPTLY RETURN THE PRODUCT TO THE PLACE WHERE YOU OBTAINED IT FOR A FULL REFUND. You agree to notify any persons whom you permit to operate this Product of the terms of this Licence, and to require them to comply with these terms.

The Software is licensed, not sold, to you for use only under the terms of this Licence, and the Company reserves all rights not expressly granted to you. The Company retains ownership of all copies of the Software itself, and all proprietary parts of it, including those stored on or in the Product.

1. Licence: Subject to the terms and conditions of this agreement, the Company grants you, and

other persons you permit to operate the Product, a personal, limited, non-exclusive, non-transferable licence to use the Software only on the single Product unit in which it has been installed.

2. Restrictions: (a) The Software, and the accompanying written materials, are copyrighted and

contain trade secrets and other proprietary matter, including confidential information relating to the specifications and performance characteristics of this Product. Save for such elements as may be licensed to the Company, as described in paragraph 5, all rights to copyrights, trade marks and trade secrets in the Software, or any modifications to it, are owned by the Company. Unauthorised use or copying of the Company's proprietary Software, or any portion thereof, or copying of those written materials, is prohibited. (b) You may not create, market, distribute, or transfer copies of the Company's proprietary Software, or any part of it, to others, or duplicate, rent, lease or loan that Software, or any part of it, except that you may transfer that Software installed in this Product in conjunction with the sale, transfer, loan, rent or lease of this Product, and subject at all times to this Licence. YOU MAY NOT REVERSE ENGINEER, DECOMPILE, DISASSEMBLE, EXTRACT OR SEPARATE OUT, MODIFY, ADAPT, PORT, OR TRANSLATE THE SOFTWARE, DERIVE THE SOURCE CODE OF THE SOFTWARE OR CREATE DERIVATIVE WORKS BASED ON THE SOFTWARE OR ANY ACCOMPANYING WRITTEN MATERIALS, save as is allowed by licences pertaining to component parts of the Software which are licensed by third parties, as described under paragraph 5, or otherwise by law. (c) In the event you violate any term of this Licence, all rights granted herein will automatically and immediately terminate and you must stop using the Software and destroy any copies of the Software.

3. Limited Warranty: Subject to your installation of any Software updates issued by the Company

as described herein, and the condition below, the Company warrants that the Software will operate in compliance with the Software's material specifications and documentation for a period of 90 days fr om your purchase of this Product. Th e Software is provided "as is" and the Company does not warrant that the operation of the Software will meet your requirements or operate free from error. To the greatest extent permissible by law, the Company DISCLAIMS ALL WARRANTIES AND CONDITIONS, EITHER EXPRESS OR IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, NON-INFRINGEMENT OF THIRD PARTY RIGHTS OR CAPABILITY OF CORRECTLY PROCESSING PROVIDING AND/OR RECEIVING

DATE INFORMATION. You understand that the Company may update or revise the Software but in so doing incurs no obligation to furnish such updates to you. However, the Company may in its discretion make updates available from time to time upon such terms and conditions as it shall determine. It is a condition of the above warranty that you install any such Software updates, as may be issued from time to time by the Company for the Software, in accordance with the Company's instructions, and if you do not do so such warranty will cease to apply. You may view current Software updates at http://www.klarkteknik.com and http://www.midasconsoles.com.

4. Limited Liability: THE ENTIRE RISK ARISING OUT OF YOUR USE OR PERFORMANCE OF THE

SOFTWARE REMAINS WITH YOU. THE LIABILITY OF THE COMPANY FOR ANY CLAIMS ARISING OUT OF THIS LICENCE AND/OR BASED UPON THE SOFTWARE, REGARDLESS OF THE FORM OF ACTION, AND INCLUDING WORK STOPPAGE, PRODUCT FAILURE OF MALFUNCTION OR ANY OTHER COMMERCIAL LOSS OR DAMAGE, SHALL NOT EXCEED THE COST OF THE LICENCE FEE FOR THE SOFTWARE OR THE COST OF THIS PRODUCT. SUBJECT TO THE PROVISIONS OF APPLICABLE LAW, IN NO EVENT SHALL THE COMPANY BE LIABLE FOR ANY LOSS OF DATA, LOST OPPORTUNITY OR PROFITS, COST OF COVER OR SPECIAL, INCIDENTAL, CONSEQUENTIAL, OR INDIRECT DAMAGES, EVEN IF YOU ADVISE THE COMPANY OF THE POSSIBILITY OF SUCH DAMAGES. THIS IS A FUNDAMENTAL TERM OF THIS AGREEMENT AND YOU ACKNOWLEDGE THAT THE AMOUNT YOU PAID FOR THE SOFTWARE AND/OR THE PRODUCT REFLECTS THIS ALLOCATION OF RISK. NOTHING IN THIS PARAGRAPH PURPORTS TO EXCLUDE OR LIMIT THE COMPANY'S LIABILITY FOR DEATH OR PERSONAL INJURY CAUSED BY NEGLIGENCE OR ANY OTHER LIABILITY WHICH CANNOT BE EXCLUDED OR LIMITED BY LAW.

5. Other Third-Party Computer Programs: As referred to herein, the term "Software" refers

only to proprietary Midas™ or Klark Teknik™ software, owned by the Company, that has been provided to you for installation on, or already installed in, a Product. In addition to the Software, you may have also been provided, at no additional charge, with a version of the widely-available GNU Linux Operating System, which is a modular operating system made up of hundreds of individual software components, each of which was written, and the copyright and other rights in which are owned individually, by various parties (collectively, "the GNU Linux Programs"). Each component has its own applicable end user licence agreement, and many of these agreements permit you to copy, modify, and redistribute the applicable software, but you must review the on-line documentation that shares a directory or otherwise accompanies each of the GNU Linux Programs provided to you for the specific terms and conditions. Nothing in this Licence limits your rights under, or grants you rights that supersede, the terms of any other applicable end user licence agreement. If you wish to receive a computer-readable copy of the source code for any of the GNU Linux Programs that have been provided with your Midas™ or Klark Teknik™ Product, send a cheque or money order (no cash accepted), your address and [£10.00] to cover the cost of optical media, postage and handling, to:

MUSIC Group Research UK Limited ATTN: Linux Programs CD for Midas™/Klark Teknik™ Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England.

In your request, indicate your Product's name and model number, serial number and version/release information. In your request, also indicate the relevant Software version/release information. This offer, made pur sua nt to the GNU Linux Programs' end user licence agreements, may expire according to the terms of those agreements, in which case your cheque will be returned to you or destroyed at our option. Please note that the GNU Linux Programs that may

be available to you under this offer consists of the GNU Linux Operating System components only and none of the proprietary application software developed by Midas or Klark Teknik is included.

Other updated Linux distributions containing application software are widely available from a variety of Internet sources, and are often available at minimal or no cost.

6. Termination: This Licence will terminate immediately if you violate any of the Licence terms.

Upon termination you must discontinue use of the Software, and either destroy, erase or return to Company all copies of the Software in your possession, custody or control, including those in or on the Product.

7. General: This Licence constitutes the entire agreement between you and the Company with

respect to this Software and, save in the case of fraud, supersedes any other communication (including advertising). Company reserves all rights not expressly granted to you in this licence. If any provision of this Licence is held unenforceable, that provision shall be enforced to the maximum extent permissible so as to give effect the intent of this Licence, and the remainder of this Licence shall continue in full force and effect. This Licence shall be governed by English law

and the Courts of England and Wales will have exclusive jurisdiction to hear and decide any dispute concerning it or its formation. No breach by you of any provision of this Licence shall be waived or discharged except with the express written consent of the Company and no failure or delay by the Company to exercise any of its rights under this Licence shall operate as a waiver thereof and no single or partial exercise of any such right shall prevent any other or further exercise of that or any other right. You acknowledge that the Company could be irreparably damaged if the terms of this Licence were not specifically enforced, and agree that the Company may seek appropriate equitable remedies with respect to breaches of this Licence, including injunctive relief, in addition to such other remedies as the Company may otherwise have available to it under applicable laws.

GNU General Public License (GPL)

For details of the Third Party Software License Attribution, Copyright and Terms and Conditions and Notices, and the GNU LESSER GENERAL PUBLIC LICENSE, see the Midas Digital Equipment GNU General Public License (GPL) Booklet part number DOC04-GPL issue A.

Contents

Information page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

Important safety instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Licences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

Overview

Chapter 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

PRO1 host software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Service and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 2 PRO1 Live Audio System . . . . . . . . . . . . . . . . . . . . . . . 5

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

System configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Mix matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Surround capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Resilience to failure (redundancy) . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Latency management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Operating system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Integration of third party hardware . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chapter 3 About The PRO1 Control Centre . . . . . . . . . . . . . . . . .17

Overview of the PRO1 Control Centre . . . . . . . . . . . . . . . . . . . . . . . . 17

PRO1 control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

External interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Getting Started

Chapter 4 Setting Up The System. . . . . . . . . . . . . . . . . . . . . . . . 25

Initial set-up procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Unpacking the equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

PRO1 Live Audio System Owner’s Manual

Making up a rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Connecting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Powering the PRO1 system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Switching the PRO1 Control Centre on/off . . . . . . . . . . . . . . . . . . . . .31

Basic Operation Of The PRO1

Chapter 5 Before You Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Principles of operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Hints and tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Saving your work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Chapter 6 Working With The PRO1 Control Centre . . . . . . . . . . 37

About the PRO1 controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

About GUI operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

GUI screen layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Values displayed on touch (control knob/fader) . . . . . . . . . . . . . . . . .40

Operating the GUI screen controls . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Using the GUI menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Text editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Chapter 7 Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

An introduction to PRO1 navigation . . . . . . . . . . . . . . . . . . . . . . . . . .43

Channel fader navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

About GUI navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Chapter 8 Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Terms used in PRO1 patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

About the Patching screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Patching tooltips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

About the patching procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Configuring the devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Setting up the I/O rack device(s) . . . . . . . . . . . . . . . . . . . . . . . . . . .60

How to patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Chapter 9 Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Setting a mic amplifier’s input gain . . . . . . . . . . . . . . . . . . . . . . . . . .67

Setting the high and low pass filters . . . . . . . . . . . . . . . . . . . . . . . . .68

Input equalisation (E zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Input dynamics processing (D zone) . . . . . . . . . . . . . . . . . . . . . . . . .70

Output processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Using VCA/POPulation groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Setting up a mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Setting up the effects rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Simple routing to master stereo outputs . . . . . . . . . . . . . . . . . . . . . .78

Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

Configuring the inputs and outputs . . . . . . . . . . . . . . . . . . . . . . . . . .83

Using copy and paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

User library (presets) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

Surround panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

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Saving your show files to a USB memory stick . . . . . . . . . . . . . . . . . . 88

External AES50 synchronisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Security (locking mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Advanced Operation And Features

Chapter 10 Stereo Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Changing the linking options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Pan Link options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Chapter 11 Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Stereo panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

SIS™ (LCR) mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Surround panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Speaker placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 12 Soloing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

Solo A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Solo B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Solo hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Solo in place (SIP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Solo modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Chapter 13 Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Chapter 14 Monitors And Communications . . . . . . . . . . . . . . . .107

Monitors (A and B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Solo system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Signal generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Talk osc/routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Talk mic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Chapter 15 Graphic Equaliser (GEQ) . . . . . . . . . . . . . . . . . . . . . 119

Overview of the GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

About the Graphic EQs screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

About the GEQ window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

GEQ front panel features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Configuring the number of GEQs (and effects) . . . . . . . . . . . . . . . . . 123

Copying settings between GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 16 Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Overview of the internal effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

About the effect window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Working with the effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Effect programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Delay effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Virtual DN780 reverb effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Flanger effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Phaser effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Pitch shifter effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

SQ1 Dynamics effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

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3-Band compressor effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Dynamic EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Ambience reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Chamber reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Hall reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Plate reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Vintage room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

Stereo chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Dual stereo delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151

Matrix mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152

Chapter 17 Control Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

VCA and POPulation groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159

Auto-mute (mute) groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

About the control group screens . . . . . . . . . . . . . . . . . . . . . . . . . . .164

Configuring the groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166

Chapter 18 Copy And Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Copying through channels/scenes . . . . . . . . . . . . . . . . . . . . . . . . . .167

Chapter 19 Assignable Controls. . . . . . . . . . . . . . . . . . . . . . . . . 169

Operating the channel fader assignments . . . . . . . . . . . . . . . . . . . . .170

Controlling a rotary control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171

Controlling an internal effect/GEQ . . . . . . . . . . . . . . . . . . . . . . . . . .173

Controlling a GEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

Chapter 20 Scenes And Shows (Automation) . . . . . . . . . . . . . . 177

About automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177

Automation controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178

Automation screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179

Using the right-click menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179

Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

Scene contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

Point scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

Numbering and navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

Safe scene (scene 0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

Date and time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182

Scene cue list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182

Editing scene properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

Adding a new scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Copying and deleting scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Changing the order of the scenes . . . . . . . . . . . . . . . . . . . . . . . . . .186

Overriding store scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186

Using patching in automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187

Using zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187

Show files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188

Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189

Safes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190

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Chapter 21 Scope (Automation) . . . . . . . . . . . . . . . . . . . . . . . . .193

About scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

About the Recall Scope screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Selecting scope parameter sections . . . . . . . . . . . . . . . . . . . . . . . . 195

Saving scope parameters in a scene . . . . . . . . . . . . . . . . . . . . . . . . 199

Using store scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Chapter 22 Events (Automation) . . . . . . . . . . . . . . . . . . . . . . . .201

About events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

About the Edit Event window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Programming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Chapter 23 Crossfades (Automation) . . . . . . . . . . . . . . . . . . . . .207

About the crossfade Edit Event window . . . . . . . . . . . . . . . . . . . . . . 207

How a crossfade operates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Crossfade groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Global events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Manually controlling a crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Chapter 24 User Libraries (Presets). . . . . . . . . . . . . . . . . . . . . .215

About the Preset Manager screen . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Managing user libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Deleting presets from a user library . . . . . . . . . . . . . . . . . . . . . . . . 218

Chapter 25 File Management . . . . . . . . . . . . . . . . . . . . . . . . . . .219

About the Files screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Chapter 26 Using Other Devices With The PRO1 . . . . . . . . . . . . 221

Using multiple digital consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Using an external USB mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Using a USB keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Using an external monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Chapter 27 Changing The Preferences . . . . . . . . . . . . . . . . . . . .223

Setting the meter preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Configuring a virtual soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Configuring playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Restoring the PRO1 defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Checking the build information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Using patching in automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Selecting the surround mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Setting the time and date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Setting the user interface preferences . . . . . . . . . . . . . . . . . . . . . . . 225

VCA unfolding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Changing the default input/output names . . . . . . . . . . . . . . . . . . . . 226

On-scene store . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Changing the signal processing preferences . . . . . . . . . . . . . . . . . . . 227

Adjusting PRO1 illumination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Selecting the function of the foot switch(es) . . . . . . . . . . . . . . . . . . 227

Selecting the fan speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Remote control server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Configuring the channels, groups and internal units . . . . . . . . . . . . . 228

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Chapter 28 Delay Compensation (Latency) . . . . . . . . . . . . . . . . 229

Insert compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229

GEQ compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230

GUI Delay Compensation options . . . . . . . . . . . . . . . . . . . . . . . . . .230

Monitor Mode (Align with Masters) . . . . . . . . . . . . . . . . . . . . . . . . .232

Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Masters to matrix tap-off-point . . . . . . . . . . . . . . . . . . . . . . . . . . . .234

Typical configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Description

Chapter 29 Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Rear panel connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241

Control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246

Chapter 30 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Input channel routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247

Input channel areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .248

Inputs on the GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249

Input metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

Channel configuration controls . . . . . . . . . . . . . . . . . . . . . . . . . . . .252

Mic amp input gain (preliminary input processing) . . . . . . . . . . . . . .254

Dynamics (D zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259

Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

EQ (E zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269

Master controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271

Solo, mute and fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Aux returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274

Chapter 31 Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Output channel routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

Output channel areas on the control surface . . . . . . . . . . . . . . . . . . . 276

Outputs on the GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277

Output metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281

Talk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282

Dynamics and EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282

Mute, safes, level and solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288

Output channel configuration controls . . . . . . . . . . . . . . . . . . . . . . .289

Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292

Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292

Chapter 32 GUI Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

GUI menu flowchart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294

GUI menu options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295

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Appendices

Appendix A Application Notes . . . . . . . . . . . . . . . . . . . . . . . . . . .299

Spatial imaging system (SIS™) . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

PRO1 compressor modes (dynamic) . . . . . . . . . . . . . . . . . . . . . . . . 299

PRO1 input channel EQ modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

PRO1 output channel EQ modes . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Appendix B Functional Block Diagrams. . . . . . . . . . . . . . . . . . . . 305

Mono input channel signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Returns signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Aux/group signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Master signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Mono mix signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Monitor signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Comms signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Dynamics signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Appendix C Technical Specification. . . . . . . . . . . . . . . . . . . . . . . 315

PRO1 general statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

PRO1 general specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

PRO1 audio performance specifications . . . . . . . . . . . . . . . . . . . . . . 317

PRO1 system inputs and outputs . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Inputs and output characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Main processing functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Appendix D Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . .329

No audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Diagnostics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Troubleshooting automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Appendix E Updating The PRO1 Host Software . . . . . . . . . . . . .341

About the PRO1 updater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

About the updater screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Using the PRO1 updater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Appendix F Parameters Affected By Scope . . . . . . . . . . . . . . . . .349

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Returns (Aux Returns) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Auxes (Aux Sends) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

GEQ rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Effects rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Appendix G Parameters Affected By Automate Patching . . . . . .393

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

PRO1 Live Audio System Owner’s Manual

xvi

Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .395

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .395

System devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .396

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .396

Appendix H Parameters Protected By Safes . . . . . . . . . . . . . . . . 397

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .398

Auxes (Aux Sends) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .408

Returns (Aux Returns) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .416

Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421

Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .429

Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .437

Appendix I Parameters Affected By Copy And Paste . . . . . . . . . 441

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .442

Aux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .448

Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .454

Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .457

Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .462

Appendix J Parameters Affected By Stereo Linking. . . . . . . . . . 467

Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .468

Aux Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .480

Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .488

Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .498

Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .506

Appendix K Parameters Copied Through Scenes . . . . . . . . . . . . 517

Inputs (input channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .519

Aux Returns (return channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . .527

Aux Sends (aux channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .533

Matrix (matrix channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .539

GEQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .544

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .544

VCA/POPulation (groups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .545

Masters (master channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .545

Misc (miscellaneous) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550

Appendix L Service Information . . . . . . . . . . . . . . . . . . . . . . . . 551

Electrostatic discharge (ESD) precautions . . . . . . . . . . . . . . . . . . . . 551

Routine maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .551

Cleaning the control centre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .551

Cleaning the GUI screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .552

Equipment disposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .552

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Other important information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION . . . . . . . . . . . . . . 561

PRO1 Live Audio System

Owner’s Manual

Volume 1:Overview

PRO1 Live Audio System Owner’s Manual

Chapter 1: Introduction

Welcome to the PRO1 Live Audio System. The PRO1 Live Audio System is a very powerful and flexible audio processing system that provides a complete solution for any audio mixing and signal distribution application in a live sound environment.

The PRO1 Control Centre, which forms an integral part of the PRO1 Live Audio System, was conceived by Midas to offer audio professionals high-performance audio equipment, designed to provide no-compromise sonic quality with a feature set that offers all essential facilities and functions. It represents the very best of British design and engineering combined with contemporary, efficient manufacturing methods, and will give you many years of reliable service.

So, to obtain the best results with a minimum of effort, please read this Owner’s Manual and, finally, enjoy your Midas PRO1 Live Audio System!

About this manual

Structure

This is the Owner’s Manual for the PRO1 Live Audio System. Its purpose is to familiarise the user with the system and show how to install, configure and operate the PRO1 Control Centre.

Note: The content of this Owner’s Manual does not supersede any information for any other equipment supplied with the PRO1 Live Audio System.

To help you find your way around the manual, it has been divided into the following main areas (volumes):

• Overview: This gives an overview of the PRO1 Live Audio System and PRO1 Control

Centre and contains information about this manual.

• Getting Started: This shows you how to set up and power up a PRO1 Live Audio

System.

• Basic Operation Of The PRO1 Control Centre: This shows you how to use the

controls of the PRO1 Control Centre, how to navigate the control surface and GUI, how to route (patch) the channels and buses, and how to carry out basic operations in order to get some audio out of it.

• Advanced Operations And Features: This describes the advanced features of the

PRO1 and gives detailed operating instructions.

• Description: This gives a detailed description of the PRO1 Control Centre hardware

and the controls and their functions on both the control surface and GUI. It provides useful reference material.

• Appendices: This provides additional reference material and technical information

on the PRO1, such as application notes, signal path diagrams, technical specifications, service information, etc.

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2 Chapter 1: Introduction

Conventions

The following lists some of the main conventions used in this manual.

• Hand symbols, such as, (for pushbutton, trackball, glide pad etc.) and (for control knob), are used to show the operation of the physical controls on the control

surface. GUI operation is indicated by a pointer, which represents a ‘click’ or

‘drag’ operation.

• The graphics shown right are used to differentiate between diagrams of the control surface (left) and GUI (right).

• Unless otherwise stated, illumination of a control (pushbutton, switch, control knob etc.) on the control surface/GUI of the PRO1 indicates an “on”, “active” or “enabled” state. Conversely, an extinguished condition indicates the control is “off”, “inactive” or “disabled”.

• ‘Selecting’ an option on the GUI enables that option, as indicated by a symbol, such as a tick

• The following types of pushbutton are used on the control surface:

• “switch” - a latching pushbutton, that is, one that changes its on/off status.

• “button” - a non-latching pushbutton.

 or cross X. An empty option is unselected (disabled).

• Generally, control names are the same whether they are on the control surface or

• Hints and tips, which convey useful information to the user, appear where you

Terminology

To clarify the understanding and use of the digital console and to discriminate between its analogue equivalent, the terminology has been chosen very carefully (see “Glossary” on page 553).

GUI diagrams

This manual contains numerous diagrams that represent the GUI screen displays. Due to the many permutations of control settings, operating status, channel configurations, etc., it is inevitable that these diagrams will look slightly different to those on your control centre.

Anti-aliasing

To make the GUI of the PRO1 as crisp, eye-catching and intelligible as possible it incorporates an anti-aliasing algorithm to ensure the utmost smoothness of straight lines and curves. Unfortunately, the process of reproducing GUI displays for this manual has resulted in an inevitable loss of quality, which in some cases has led to a certain amount of pixelation. Therefore the quality of the actual GUI display on the PRO1 is not truly reflected here.

the GUI. However, in cases where they differ, both names will be given, separated by a forward slash “/”. The control name shown on the GUI will always be last and enclosed in square brackets “[]”.

see the drawing pin graphic (shown right).

PRO1 Live Audio System

Operator Manual

PRO1 host software 3

PRO1 host software

This manual is for an PRO1 Control Centre running host software version 2.00 and later.

To keep the PRO1 Control Centre up to date so that it gives you optimum performance, we recommend that you check the Midas website regularly to see if there are any available host software updates.

Service and support

The PRO1 is a very hi-tech piece of equipment. We provide superb levels of support and service to give users confidence in Midas digital products.

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4 Chapter 1: Introduction

PRO1 Live Audio System

Operator Manual

Chapter 2: PRO1 Live Audio System

The PRO1 is a mid-size mixing console designed to work for long periods, not just indoors but under harsh sunlight or near freezing conditions. Built around a lightweight all-aluminium frame, the PRO1 is a standalone console that is easy to configure and operate.

The console forms the core of the PRO1 Live Audio System, whose network carries both proprietary control data and open architecture AES50 digital audio, and uses readily available standard cabling and connectors. The PRO1 uses the reliable Linux operating system.

Additional AES50-compatible sound processing products can be connected to the PRO1 to form extended distribution and mixing console “system”.

Features

Please remember, the PRO1 is not just a console, it’s a LIVE PERFORMANCE SYSTEM!

• 100 inputs x 102 outputs (maximum capacity) point-to-point routing anywhere within the network

• 24 mic/line inputs with Midas mic preamps

• 48 simultaneous input processing channels

• 24 analogue outputs (including two stereo local monitor outputs)

• Monitor mixing is simple — master, matrix and aux buses can be routed directly from input channels with independent level control, giving 24 monitor mix buses

• Traditional FOH subgroup mixing is simple — any/all aux buses can operate as post-channel fader and pan (aux gain fixed at unity)

• Aux inputs have two modes of operation: effects return and input channel

• Three AES3 outputs

• Two AES3 inputs

• Integral AES50 ports on the Control Centre for I/O expansion and inter-console connectivity

• 27 sample-synchronous, phase-coherent mix buses

• Up to 12 multi-channel FX engines

• Up to 28 Klark Teknik DN370 31-band Graphic EQs

• Surround panning including 5.1, Quad and LCRS

• Full-colour 15" daylight-viewable display screen with DVI out

• Eight VCA (Variable Control Association) groups

• Six POPulation groups

• Automation providing up to 1,000 scenes with snapshot save/recall capability and global edit, presets and show file archiving

• Comprehensive, easy-to-use routing via a GUI Patching screen

• 96kHz 40-bit floating-point processing throughout

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6 Chapter 2: PRO1 Live Audio System

• Removable power supply

• Three year factory warranty

Additional I/O Box Options

• DL251: 48 inputs/16 outputs in a fixed configuration I/O

• DL252: 16 inputs/48 outputs in a fixed configuration I/O

• DL351: up to 64 inputs/64 outputs in a configurable I/O

• DL431: 24 inputs in a five way split in a fixed configuration I/O

• DL451: up to 24 inputs/24 outputs in a configurable I/O

Accessories

• Klark Teknik DN9331 Rapide Graphic Controller

• Klark Teknik DN9696 96-track High Resolution Audio Recorder

• Klark Teknik DN9650 Network Bridge (MADI, Dante, Aviom, Ethersound, CobraNet)

Applications

Although the PRO1 is designed for the traditional touring live sound environment, it is also ideal for medium-sized theatre, small house of worship installations and broadcast. So, being a truly multi-function console in the Midas tradition, the PRO1 is suitable for many applications, such as:

• Live concert sound touring (medium and small scale productions).

• Live concert sound fixed install (medium and small).

• Live sound small theatre MON or FOH duties.

• Live sound house of worship MON or FOH duties.

•Corporate work.

• TV broadcast small outside broadcast (OB) truck.

PRO1 Live Audio System

Operator Manual

System configurations 7

System configurations

This section shows the basic interconnectivity of a PRO1 Live Audio System and the possible system configurations.

PRO1 with a DL251. This configuration gives 48 mic/line inputs and 16 outputs on stage (DL251) and 24 mic/line inputs and 24 outputs on the console.

PRO1 system expanded by adding two DL431s and a DL451.

PRO1 Live Audio System Operator Manual

8 Chapter 2: PRO1 Live Audio System

Dual PRO1 FOH and MON system using a DL251 split network

Dual PRO1 FOH and MON system with two XL8 DL431s

PRO1 Live Audio System

Operator Manual

System configurations 9

PRO1 and XL8 sidecar network with up to 528 inputs and up to 160 simultaneous channels. The PRO1 control centre and engine are connected to the XL8 network as an extender. The channel count depends upon the number of I/Os and their configuration.

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10 Chapter 2: PRO1 Live Audio System

Signal flow

The control surface contains the DSP engine, which provides the following time-aligned channels and buses:

• 40 input channels

• 8 aux input channels optionally time-aligned as effects returns or additional input channels

• 16 aux output channels

• 3 master channels

• 8 matrix channels

• 2 solo buses, routable from all locations providing dual monitor formats (in ear/wedge)

• 2 master buses, routable from the 40 inputs and 8 aux inputs, and 16 aux buses

• 8 matrix buses, routable from the 40 inputs and 8 aux inputs, 16 aux buses and 3masters

• 16 aux buses, routable from the 40 inputs and 8 aux inputs

Monitor mixing is easily catered for because the master, matrix and aux buses can all be routed directly from the input channels with independent level controls providing up to 24 monitor mix buses.

Traditional FOH sub group mixing is easily catered for as the aux buses can be individually configured to operate post-channel fader and pan (that is, aux gain fixed at unity).

Auxiliary inputs have two modes, effect return and input channel (default). In input channel mode they are time aligned to the stage and operate as the input channels except that they have no dynamics. In effects return mode they are time aligned to the effects engine and can only route to the matrix and master channels.

PRO1 Live Audio System

Operator Manual

Mix matrix 11

16 aux

buses

48 in x 16 out

mix matrix

{}

64 in x 3 out

mix matrix

8 matrix

buses

66 in x 8 out

mix matrix

3 master

buses

{}

40 mic/line inputs 8 mic/line return inputs

2 solo buses

68 in x 2 out

mix matrix

{}

Bus outputs

Bus inputs

Mix matrix

Ultimately, the mix matrix defines the PRO1 Live Audio System’s capability. Probably the best way to imagine the mix matrix is to think of an analogue console layout, where inputs run vertically and buses run horizontally. A mix matrix is usually defined as the number of buses and the quantity of simultaneously-mixable inputs there are per bus. The following diagram illustrates the capability within the control centre.

Processing

Although the control centre system allows for considerable insertion of external processing, it also embodies more than enough internal high quality processing to eliminate the need for this.

Input channel processing

Each of the 40 full-function input channels has:

• Analogue and digital gain.

• Phase reverse switch.

• Input delay.

• Swept high pass filter with choice of two filter slopes.

• Swept low pass filter with choice of two filter slopes.

• Frequency-conscious compressor with choice of four compression styles.

• Frequency-conscious noise gate with external side chain.

• Insert point.

• Treble EQ filter with choice of four filter types.

• Parametric hi-mid EQ filter.

• Parametric lo-mid EQ filter.

• Bass EQ filter with choice of four filter types.

• Routing via level controls to 24 mix buses.

• Routing via pan control to left and right master buses.

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12 Chapter 2: PRO1 Live Audio System

• Routing to mono master bus.

•Panpot (SIS™).

• Direct output.

Each of the 16 auxiliary inputs has:

• Input gain.

• Source from internal FX or external pool input.

•Fader.

•Panpot (SIS™).

• Routing via level controls to the eight matrix buses.

• Routing via pan control to the left, right and mono master buses.

Mix channel processing

Each of the 16 auxiliary mix buses has:

• Subgroup, auxiliary or mix minus modes.

• Dual mono or stereo pair modes.

• Six-band PEQ.

• Optional 31-band GEQ (replaces PEQ).

• Frequency-conscious compressor with soft clip limiter and choice of five compression styles.

• Insert point.

• Routing via level controls to the 6 matrix buses.

• Routing via pan control to the left, right and mono master buses.

• Direct input.

Each of the eight matrix buses has:

• Six-band PEQ.

• Optional 31-band GEQ (replaces PEQ).

• Five-mode frequency-conscious compressor with soft clip limiter and external side chain.

• Insert point.

• Direct input.

Output channel processing

Each of the eight matrix buses has:

• Six-band PEQ.

• Optional 31-band GEQ (replaces PEQ).

• Five-mode frequency-conscious compressor with soft clip limiter and external side chain.

• Insert point.

• Direct input.

The two master output buses each has:

• Six-band PEQ.

• Optional 31-band GEQ (replaces PEQ).

• Five-mode frequency-conscious compressor with soft clip limiter and external side chain.

• Insert point.

• Direct input.

PRO1 Live Audio System

Operator Manual

Surround capabilities 13

Effects processing and GEQs

The PRO1 contains six effects processors and eight mono Klark Teknik (KT) GEQs as standard. However, each effect slot can be sacrificed to gain an additional four GEQ effects.

The effects processors (six maximum) can be freely chosen from the following:

•Stereo delay

• Stereo reverb (Klark Teknik DN780)

•Stereo flanger

•Stereo phaser

•Stereo graphic EQ

• Pitch shifter

•Square ONE Dynamics

• Stereo 3-band compressor

• Chamber reverb

• Hall reverb

• Plate reverb

• Vintage room reverb

• Ambience reverb

• Dual stereo chorus

•Dynamic EQ

• Dual stereo delay

•Matrix mixer

Up to 28 mono KT GEQs can be patched into any output. There are many patching options for the effects processors. They can be patched to any source or destination within the system and you can even patch directly to and from an effect externally.

Surround capabilities

Theatres and broadcast have differing requirements for surround, and both are catered for in the PRO1.

Conventional stereo and SIS™ panning is assignable on a channel by channel basis (channel one can be in stereo while channel two can be in SIS™), as follows:

• Stereo left–right routing to master buses.

• SIS™ left–right–centre routing to master buses.

Three additional surround modes operate as follows:

• Quad (left, right, LS and RS).

• Surround (left, centre, right surround).

• 5.1 surround (left, centre, right, subwoofer (LCRS), LS and RS).

Network

The PRO1’s digital audio network utilises the physical connectivity of Ethernet (etherCON® connectors and Cat 5e/Cat 6 cable), but replaces its data protocol with AES50 protocol (implemented as SuperMAC) and the HyperMAC high capacity system, which are more suited to high quality, low latency audio distribution. The use of the

PRO1 Live Audio System Operator Manual

14 Chapter 2: PRO1 Live Audio System

AES standard allows straightforward interfacing with any third party hardware that also utilises this connection.

AES50 and HyperMAC connections carry digital audio, control data and standard Ethernet traffic bi-directionally down a single cable. Cat 5e cable is used for the ‘local’ (24-channel) connections. The combination of audio, control, clock and third party Ethernet data in a single network means that the hardware interfaces on a single RJ45 connection.

All system connections are duplicated for full dual redundancy.

Resilience to failure (redundancy)

The PRO1 Control Centre uses the N+1 principle for the audio, where the AES50 cables include a redundant spare.

The GUI screen can be used to operate the control centre, even if no control surface hardware is working.

Latency management

In the interests of reduced latency the primary channel types are restricted to three time zones and the interconnecting buses are restricted to the time in between.

• First time zone: Input channels, including aux inputs that are set to input channel mode. (Aux bus time is here.)

• Second time zone: Aux channels, including aux inputs that are set to effects return mode. (Master and matrix bus time is here.)

• Third time zone: Master and matrix outputs.

Operating system

The operating system of the PRO1 is Linux, which is an open-source, stable, proven operating system (OS). Linux is used in many mission-critical applications worldwide and has allowed Midas’ software engineers to write a ground-up system that contains no ‘hidden’ or unused code. This has resulted in an efficient, compact application, which is quick in operation, quick booting and comparatively easy to debug.

GUI

The PRO1 has a daylight-viewable, TFT screen that provides overview and detail status indication. The screen is operated using a trackball and two buttons that, between them, provide the same control as provided by a computer’s mouse.

The supplied USB keyboard lets you insert text into pre-defined fields on the GUI screen.

PRO1 Live Audio System

Operator Manual

Integration of third party hardware 15

Integration of third party hardware

The PRO1 network includes the capability to interface any third party hardware that uses AES/EBU or AES50 digital audio, or a standard analogue audio interface.

Each PRO1 AES/EBU input and output has a sample rate converter. Synchronisation to external AES3 interfaces can be:

• Global - via inputs on the routers.

•Local to each input.

• Local to each output (synchronisation to adjacent local output).

Multiple local connections can be at different sample rates.

The use of the AES50 protocol for the transmission of digital audio means that any third party digital audio hardware that features this connection can be connected to the Midas network, and will transfer audio to and from the Midas hardware without any additional interfaces or converters (provided it runs in TDM 96kHz mode). This will be particularly useful as the protocol gains acceptance with recording and playback devices, loudspeaker controllers, audio networking systems, digital amplifiers etc.

The PRO1 Control Centre has a DVI connector (called “screen output”) on the rear panel, so that the control centre view can be routed to an external monitor.

PRO1 Live Audio System Operator Manual

16 Chapter 2: PRO1 Live Audio System

PRO1 Live Audio System

Operator Manual

Chapter 3: About The PRO1 Control Centre

This chapter introduces you to the PRO1 Control Centre and provides a brief hardware description.

Overview of the PRO1 Control Centre

The PRO1 Control Centre comprises a combined control surface and graphical user interface (GUI) that provides an array of easy-to-use controls for the precise manipulation of audio.

The control surface has been designed to emulate the fast access of an analogue control surface by presenting things in a familiar, consistent and logical way. This is enhanced by visual representations on the GUI screen, which also provides extra functionality.

PRO1 control centre

PRO1 Live Audio System Operator Manual

18 Chapter 3: About The PRO1 Control Centre

GUI

C D

PRO1 control surface

During show time the functions that require fast access are controlled by control knobs (rotary encoders), pushbutton switches, faders etc. More complex functions that do not require this fast access are controlled via the GUI screen using the trackball and left and right navigational keys.

Main areas of control surface

Item Description

Channel processing areas Contains processing areas, such as the D-

zone (dynamic), E-zone (EQ) and mix buses, to the left that provide a more comprehensive control of a channel or mix bus by allowing detailed audio parameter adjustment. The mix bus selection controls are to the right of the channel processing areas, under which are the mute groups and global tap sections.

Masters This section has a single fader with left and right meters, solo and mute buttons, and left and right master channel selection buttons. It controls the left and right master outputs.

monitors This section contains a single fader and is used for the stereo left and right monitor a or b channels.

Comms Talk, solo, headphones, etc.

PRO1 Live Audio System

Operator Manual

PRO1 control surface 19

Item Description

I zone Operator-assignable device controls, which also includes a button

for direct access to the console overview screen at the upper-left corner and four arrowed scrolling buttons to the right.

Utilises the input fast zone’s eight channel faders and eight horizontal assignable controls, which operate in conjunction with a vertical channel detail controller and the GUI screen.

The usable channel fader control can be increased to 16 by activating the EXTEND button which allows the channel fader to extend over the usual mix faders (temporarily overriding them).

POPulation groups, automation and USB connection Six POPulation groups to the left provide instant navigation to a user-defined set of channels. When a POPulation group is selected, they are mapped to the input bay faders and, when in EXTEND mode, also to the mix bay faders.

The automation and storage sections to the right contain scene store/recall controls and USB connection for transporting showfiles, presets and preferences, and carrying out upgrades.

Input fast zone Contains the operator’s ‘must have now’ controls in eight input fast strips. Provides faders, meters, mutes, solos and selection (LCD) switches for detailed and complex manipulation of multiple channels within the console. Typically, this would be input channels (inputs and aux returns), outputs (aux sends, matrices and masters) or group members POPulation, VCA, etc.). Scrolling is restricted to the channel types currently assigned to the channel faders.

This zone also has two left/right navigation buttons for scrolling the channels and a navigation section.

Navigation zone For GUI screen navigation via a trackball. Includes a screen access panel for direct GUI screen access.

Mix fast zone Eight mix faders (with LCD switches) give the operator

primary mix control. Additional input channel faders can be provided by using EXTEND, which override the mix faders. They attach themselves numerically to right of the channels already assigned to the channel faders.

A navigation section to the right of the mix faders contains channel assign buttons for the mix fader bay.

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20 Chapter 3: About The PRO1 Control Centre

Connections

The PRO1 has a rear panel and sockets on the control surface for the connection of mains power, AES50 I/O unit(s), USB devices (includes showfile storage and system updates), keyboards, headphones, talk mics, communications, external monitor, AES3 synchronisation, diagnostics (for service personnel only), lamp and word clocks (75R).

For more information, see Chapter 29 "Connections" on page 241.

Rear panel connectors (top) and storage USB connector on the control surface

Keyboard

A QWERTY keyboard (supplied) is used mainly for inputting text, such as when configuring a channel or using automation.

External interfaces

Various devices can be used with the PRO1, such as:

• External USB mouse: Instead of using the navigation zone to operate the GUI screen, you can use an external USB mouse. This can be plugged into one of the USB connectors on the rear panel. The USB mouse behaves in the same way as any PC mouse.

• External USB keyboard: You can plug a USB keyboard into one of the USB connectors on the rear panel of the PRO1.

PRO1 Live Audio System

Operator Manual

External interfaces 21

• MIDI: Standard 5-pin connectors are housed in the rear panel of the PRO1 for use

as MIDI in, out and through ports.

• USB: Two USB ports are provided on the rear panel of the PRO1. In addition, there is a USB port on the control surface (storage section) for removable storage via a USB memory stick.

• DVI ports for external monitor: The control centre has a screen output DVI connector on the rear panel of the PRO1 for connecting an external monitor. This lets you view remotely what is shown on a GUI screen.

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22 Chapter 3: About The PRO1 Control Centre

PRO1 Live Audio System

Operator Manual

Volume 1:Getting Started

PRO1 Live Audio System Owner’s Manual

Chapter 4: Setting Up The System

Before installing, setting up or operating this equipment, make sure that you have read and fully understand all of this section and the “IMPORTANT SAFETY INSTRUCTIONS” at the front of this manual.

This chapter shows you how to set up an PRO1 Live Audio System to its default configuration.

Note: If you want to set up the PRO1 Live Audio System using a configuration other than the default, please contact Midas Technical Support for details.

Initial set-up procedure

Initial system set-up basically comprises:

• Unpacking and checking the equipment — see “Unpacking the equipment” below.

• Making up the rack — see “Making up a rack” below.

• Installation — see “Installation” below.

• Connecting up the equipment — see “Connecting up” on page 28.

• Powering the equipment — see “Powering the PRO1 system” on page 30.

• Setting up the I/O rack device (initial patching) — see “Configuring the devices” on page 58.

• Configuring the DL251 Audio System I/O unit — see the DL251/DL252 Audio System I/O Operator Manual.

Unpacking the equipment

After carefully unpacking the equipment, save all packing materials, as they will prove useful if you need to transport 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.

Installation

Before installing the equipment:

• Make sure the equipment is correctly connected to the protective earth conductor of the mains voltage supply of the system installation through the mains leads.

• Power to the equipment must be via a fused spur(s).

• Power plugs must be inserted in socket outlets provided with protective earth contacts. The electrical supply at the socket outlets must provide appropriate over-current protection.

• Both the mains supply and the quality of earthing must be adequate for the equipment.

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26 Chapter 4: Setting Up The System

• Before connecting up the equipment, check that the mains power supply voltage rating corresponds with the local mains power supply. The rating of the mains power supply voltage is printed on the equipment.

Handling the equipment

Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it.

When lifting or moving the equipment, always take its size and weight into consideration. Use suitable lifting equipment or transporting gear, or sufficient additional personnel.

Do not insert your fingers or hand in any gaps or openings on the equipment, for example, vents.

Avoid inserting or dropping foreign objects, such as paper, plastic, metal etc., into any gaps or openings on the equipment, for example, vents. If this happens, immediately disconnect the equipment from the AC mains. Then have the equipment inspected by the manufacturer's qualified service personnel.

Do not press or rub on the sensitive surface of the GUI screens.

If the glass of the GUI screen is broken, liquid crystals shouldn’t leak through the break due to the surface tension of the thin layer and the type of construction of the LCD panel. However, in the unlikely event that you do make contact with this substance, please wash it out with soap.

Location

Ideally a cool area is preferred, away from power distribution equipment or other potential sources of interference.

Do not install the equipment in places of poor ventilation.

Do not install this equipment in a location subjected to excessive heat, dust or mechanical vibration. Allow for adequate ventilation around the equipment, making sure that its fans and vents are not obstructed. Wherever possible, keep the equipment out of direct sunlight.

Do not place the equipment in an unstable condition where it might accidentally fall over.

Make sure that the mains voltage and fuse rating information of the equipment will be visible after installation.

Electric fields

Caution: In accordance with Part 15 of the FCC Rules & Regulations, “… changes or modifications not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.”

Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal (20Hz to 20kHz), the signal to noise ratio may be degraded. Degradation of up to 60dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions (3V/m, 90% modulation).

Optional equipment

Unless advised otherwise, optional equipment must only be installed by service personnel and in accordance with the appropriate assembly and usage regulations.

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Making up a rack 27

Special accessories

To comply with part 15 of the FCC Rules, any special accessories (that is, items that cannot be readily obtained from multiple retail outlets) supplied with this equipment must be used with this equipment; do not use any alternatives as they may not fulfil the RF requirement.

Making up a rack

If you are making up a rack, there are careful considerations to be addressed beforehand, which are outlined in this section.

Outboard equipment racks

To ensure the correct installation and function of the outboard equipment, such as the DL251 Audio System I/O and DN9696 recorder, racks must meet the following general requirements.

• Shock mounting (for non-installation environments): The racks must provide

adequate shock protection of the units they house by incorporating appropriatelydesigned shock protection methods, for example, a foam-suspended rack or a frame suspended on anti-vibration mounts etc.

• Ventilation: Midas rack units have been designed such that their internal ventilation

airflow is drawn in through the front of the unit and expelled though the rear. To facilitate this, rack design must ensure that cool air can flow freely through the rack in the same direction, that is, in through the front of the rack and out through the rear. Situations where the air flows in a circular direction around and through a unit must be prevented. Midas recommends that racks with fully opening front and rear doors are used.

Note: Never combine units in the same rack that have been designed for a ventilation air flow direction other than that for the PRO1 units. To avoid this, we recommend that any non-PRO1 units are housed separately.

• Rack mount supports: Always secure the rear of the units to the rack via their rear

rack mount support brackets. These brackets are fitted to every PRO1 unit and are recommended for use in touring applications. The rack mount support fixing hole centres are at a depth of approximately 395 mm from the front panel (this dimension may differ slightly on the DN9696).

• Handles on rack case: You must ensure that there are sufficient external handles

fitted to the rack casing to enable the rack to be manoeuvred easily and safely, and by the amount of personnel suitable for the task. Also, these handles must be fit for purpose.

• Clearance at rear of units: To ensure an adequate clearance at the rear of the

units, we recommend that the rack depth, that is, the distance from the front rack strip to the rear of the rack, is a minimum of 700 mm.

• Securing the cables: We recommend that the cables at the rear of the units be

tidied using lacing bars and cable ties. This should provide optimum access to the rear of the units for connecting other cables, switching the units on/off, etc., and give maximum visibility of the units’ LEDs for determining communication status, link status, condition of audio etc.

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28 Chapter 4: Setting Up The System

Connecting up

Connect your system according to your requirements. For examples of system configuration, see “System configurations” on page 7.

To ensure the correct and reliable operation of your equipment, only high quality, balanced, screened, twisted pair audio cable should be used.

XLR connector shells should be of metal construction so that they provide a screen when connected to the console and, where appropriate, they should have Pin 1 connected to the cable screen.

All Jack connector shells should be connected to the cable screen.

Audio connections

This section gives details of the audio connections of the PRO1 Control Centre.

Table 1: Connector pinouts

Connector on rear panel Example of plug Pinouts Example of socket

Male XLR chassis connector (output)

Female XLR chassis connector (mic input)

Ethernet EtherCon® connector

1 = ground 2 = hot 3 = cold

N/A

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Operator Manual

Connecting up 29

123

Other connections

The section gives details of the other PRO1 Control Centre interconnections.

Description Example Pinouts Example of socket

4-pin, male XLR chassis connector(s) on the rear panel for connecting 12V/5W

1 = N/A 2 = N/A 3 = ground 4 = 12V

lamp(s)

USB type A socket N/A

DVI screen output

N/A

socket for connecting

foot switch socket for connecting a 1/4” TRS Jack plug

1 (tip) = foot switch 1 2 (ring) = foot switch 2 3 (sleeve) = ground

The diagnostics socket is for service personnel use only.

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30 Chapter 4: Setting Up The System

Powering the PRO1 system

The internal power supplies are of the switch mode type that automatically sense the incoming mains voltage and will work where the nominal voltage is in the range 100VAC to 240VAC.

When removing the equipment’s electric plug from the outlet, always hold the plug itself and not the cable. Pulling out the plug by the cable can damage it.

Never insert or remove an electric plug with wet hands.

Before switching the PRO1 on/off, make sure that all monitor loudspeaker power amplifiers are turned off or muted.

The following details the recommended power up and power down procedures for the PRO1 system.

>> To power up the PRO1 system

DO NOT switch on the speaker sub-system until after the start-up of the PRO1 system has been completed.

After all PRO1 system interconnections have been made, start up the system:

1 Make sure that all of the PRO1 system equipment is switched off (the PRO1

Control Centre and speaker sub-system).

2 Switch on the PRO1 Control Centre (see “To switch on the PRO1 Control Centre”

on page 31).

3 On the PRO1 Control Centre, move all of the monitor and master channel faders

to the minimum position and mute all of the master channels.

4 After the status LED (top of the GUI screen on the PRO1 Control Centre) turns

green, switch on the speaker sub-system.

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

6 On the PRO1 Control Centre, check that the audio inputs 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 are no sounds at all 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, contact Midas Technical Support.

>> To power down the PRO1 system

BEFORE switching off any of the PRO1 system components, make sure to mute the audio from the speakers and switch off the speaker sub-system.

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

2 Switch off the PRO1 Control Centre (see “To switch off the PRO1 Control Centre”

on page 31).

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Operator Manual

Switching the PRO1 Control Centre on/off 31

Switching the PRO1 Control Centre on/off

Carry out the following to switch the PRO1 Control Centre on/off in a safe manner.

>> To switch on the PRO1 Control Centre

Before switching the PRO1 on, make sure that all monitor loudspeaker power amplifiers are turned off or muted.

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

1 Plug the mains cable into a mains power outlet and then connect the IEC plug to

a mains inlet socket on the rear of the PRO1 Control Centre.

2 Make sure that all monitor loudspeaker power amplifiers are turned off or muted

and then switch on the mains on/off isolator switch.

3 The control centre will power up; the GUI will display the default screen and all

the controls will be set to default. You are now ready to start using the PRO1 Control Centre.

>> To switch off the PRO1 Control Centre

1 Make sure you have saved any shows, scenes or settings you require (see

“Saving your show files to a USB memory stick” on page 88).

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

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

shutdown down sequence.

During the shutdown sequence the GUI screen will shutdown and all of the LCD select buttons on the control surface will turn red.

When the shutdown sequence has finished the LCD select buttons on the control surface will turn green, and the appropriate ones will also display text messages, accordingly.

During the shutdown sequence, when the LCD select buttons on the control surface are red, do not switch off the mains power supply, and when they are green, it is OK to switch off the mains power supply.

4 Make sure that the shutdown sequence has finished, and then switch off the

mains on/off isolator switch (rear of control centre).

5 Disconnect the mains IEC connector from the socket on rear of PRO1 Control

Centre.

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32 Chapter 4: Setting Up The System

PRO1 Live Audio System

Operator Manual

Volume 2:Basic Operation

Of The PRO1

PRO1 Live Audio System Owner’s Manual

Chapter 5: Before You Start

This chapter provides useful background information on PRO1 operation.

While this system is a complex, high-tech piece of equipment, we have made it as easy to use and as user-friendly as possible.

Principles of operation

PRO1 Control Centre operation is based on the concept of colours and groups rather than ‘layering’ or ‘paging’, which is the case with most digital consoles on the market today. With so many channels available it is far easier to remember them by their user-configured 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.

Hints and tips

During operation, we recommend that you carry out the following:

• Check what is hidden On the PRO1, unlike on an analogue control surface, some

of the settings and parameters will be hidden from view (stored in the computer memory of the PRO1). To make sure there are no hidden surprises, such as a reverb send left from a previous mix, we recommend that you view unused parameters at various times during a mix.

• Check the Console Overview screen It is a good idea to frequently monitor the Console Overview screen (press the HOME button underneath the GUI screen), 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 carrying out the procedures included in this chapter. Not only is this good practice during normal PRO1 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 create a new show” on page 79), and then continue reading through the remainder of this section, following the instructions carefully. Save your work at convenient points (see “To create a new scene using the current settings” on page 81 and “To save a show or create a new one from the current settings” on page 80).

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36 Chapter 5: Before You Start

Saving a show versus storing a scene

It is important to understand the differences between saving a show and storing a scene.

• Storing a scene saves the current settings of the system to the show file. Scene

data is never updated to the show file unless you manually store a scene. The show file remains unsaved in RAM after storing a scene.

Although the state of the control centre is copied every five seconds, it is not stored in a scene. 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 off. 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 showfile loaded (if any) will not

subsequently be restored, and any unsaved changes to it will be lost.

• Saving a show copies the show file onto the internal solid-state disk of the PRO1.

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

Shutting down the PRO1 Live Audio System properly

When switching off the PRO1 Control Centre, we recommend that you use the shutdown option of the GUI menu (see “To switch off the PRO1 Control Centre” on page 31).

By using shutdown, the cached copy of the show data, which is maintained by the system, is automatically stored. Shutdown then uses the current showfile, NVRAM data and cache files to restore the PRO1 Control Centre to exactly the same state as at power down; even to the point of loading the unsaved show and placing you at the correct scene, with non-stored 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.

PRO1 Live Audio System

Operator Manual

Chapter 6: Working With The PRO1 Control Centre

This chapter is intended to familiarise you with the controls (control surface and GUI) of the PRO1 Control Centre.

Although many controls on the PRO1 Control Centre are similar to their equivalent analogue-type counterparts, some have been specifically designed for the PRO1, particularly those for navigation and GUI operation. As you will probably have had experience on analogue consoles, you will already be familiar with most of the PRO1 controls and their operation.

The GUI can be used to replicate most of the control surface functions and even has many of its own. However, the emphasis in this chapter — and throughout the manual — is on using the control surface because, generally, it is quicker and more intuitive. GUI methods will be included where they are anomalous or there is no control surface equivalent.

The navigational controls, such as quick access buttons and scroll buttons, are described in Chapter 7 "Navigation" on page 43, and the ones specifically for automation can be found in “Managing the scenes” on page 81.

For more information on the operation and function of specific controls, see Volume “Description” on page 239.

About the PRO1 controls

The following table shows some of the controls that can be found on the control surface of the PRO1.

Type Description Example(s)

Pushbutton Generally two-state, that is, on/off or

enabled/disabled, and backlit or with an integral LCD for status indication.

Control knob In general, the control knobs (rotary controls) are

touch-sensitive, their adjustment being shown on the GUI. Some control knobs are backlit to help identify their current role.

Fader The high quality motorised faders are, similarly to the

control knobs, touch-sensitive.

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38 Chapter 6: Working With The PRO1 Control Centre

Processing

area

Status bar

Main area

Type Description Example(s)

LED Status indication.

Meter All of the input, output and monitor peak level meters

on the control surface are shown simultaneously on the GUI’s Console Overview screen. Additional peak level meters are included in the direct input and direct output sections of the input bay and mix bay channel strips, respectively.

About GUI operation

The GUI is not just an additional feature that enhances control surface operation, it is a fully-featured tool in its own right. Not only does it show what is happening on the control surface, but all of its controls are functional. The GUI contains most of the controls found on the control surface and, in addition, has features that allow configuration of the PRO1 and provide extra functionality.

For information on how to operate the GUI (for example, using click and drag, using the screen access buttons), see PRO1 GUI Navigation in the PRO1 Live Audio System Quick Start Guide.

GUI screen layout

The GUI screen has three distinct areas (shown right). The status bar is constantly displayed throughout console operation, while the main and processing areas are context-dependent and may be combined, particularly for GUI menu screens. During channel operation the main area will be divided into eight strips (fast strips) displaying the channels currently assigned to the channel faders at the control surface. The processing area shows a detailed view of the parameters of the currently selected channel section; with no channel selected the processing area will be blank.

To distinguish between channel types, they are colour-coded: inputs = blue; aux inputs = dark green; aux sends = light green; and matrix and masters both = black.

PRO1 Live Audio System

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GUI screen layout 39

1 2 3 4 5 8 976

Status bar

Main area

Processing

area

Status bar

The Status bar, which is always displayed at the top of the GUI screen, contains a number of elements as shown in the following diagram.

Item Description

1 home button, opens the GUI menu (see “GUI menu flowchart” on

page 294).

2 Screen navigation buttons (see “To find a GUI screen that you recently

opened” on page 44).

3 Name of current screen.

4 “Not Saved” message appears when the scene/preset library file contains

changes that have not been saved.

5 Title of currently selected scene, if any.

GUI cross-hair

6 status LED indicates the health and status of the system (see “Diagnostics”

on page 329).

7 Tap Tempo section, which shows the current tap tempo time (ms).

8 Copy and paste buttons (see “Using copy and paste” on page 84).

9 User library buttons (see “User library (presets)” on page 85).

The GUI uses a ‘cross hair’ configuration (shown right) to show which channel is currently selected in the channel fader section and also its current processing area selection.

The processing area can show an output, while the main area displays input channel overviews, and vice versa.

You can navigate the eight channel faders to show output channel overviews.

In the example shown right, input channel 5 and its gate detail are selected.

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40 Chapter 6: Working With The PRO1 Control Centre

Drop-down

arrow

Currently selected

list item

Values displayed on touch (control knob/fader)

You can configure the PRO1 so that, when operating a control knob or fader, the parameter value associated with that control will be displayed on the GUI or LCD select button, respectively. To do this, select the Display Rotary Values option (see “Setting the user interface preferences” on page 225).

The following typical examples show the GUI display when adjusting the frequency control knob of the parametric EQ (immediate right) and an assignable control knob to adjust the level of aux 1 (far right).

Fader values (to the nearest dB) are shown at the bottom of their respective LCD select button, regardless of their current channel assignment.

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/off

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

>> To adjust a GUI control knob or fader

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

Using drop-down lists

Certain configurable name fields, particularly the signal routing ones, have drop-down lists that offer a number of preset or context-sensitive options to choose from. Long lists — containing more options than can be displayed simultaneously — have sliders that allow you to access all of the options.

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

1 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.

2 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.

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Operating the GUI screen controls 41

Scroll box

Scroll bar

Scroll arrow

Properties

window

Option window

Alert window

>> To scroll a drop-down list

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

• A — Drag the scroll box.

• B — Click the scroll bar. The scroll box will ‘jump’ in the direction of the click to another position in the scroll bar.

• C — Click an up/down scroll arrow. The scroll box will ‘jump’ in the direction of the scroll arrow to another scroll bar position.

Spin buttons

Up/down spin buttons (highlighted right) let you increase/decrease the attribute or value of an item. For example, the amount of time a signal is delayed.

Radio buttons

Radio buttons let you choose a single option from a list of options.

About windows

There are three main types of window you will encounter when using the GUI:

• Parameter windows contain elements (parameters) that you can select or edit, such as options, lists, tick boxes, text fields etc.

• Alert windows contain text that can be a prompt or an error message. Generally, this type of window will contain a user-editable text field and OK and CANCEL buttons (all controls are inhibited until one of these buttons is clicked or the window is closed).

• Option windows have a number of user-selectable options in the form of a list, and may include OK and CANCEL buttons.

>> To close a window

Do one of the following:

• To acknowledge your changes, click OK.

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42 Chapter 6: Working With The PRO1 Control Centre

Right arrow shows that the option has a submenu

Blue background shows that option is ready for selection

• To cancel your changes, click CANCEL.

• Click “(X)” at the upper-right corner of the window.

>> To move a window

Use drag, by clicking on the window’s blue bar (top) and dragging the window where you want it.

Graphs

Some graphs, such as the crossfade (immediate right) and surround spatial diagram (far right), can be edited on the GUI using drag.

Using the GUI menu

The GUI main menu (shown right) is opened by clicking the home button, which is constantly displayed at the upper-left corner of all GUI screens. To select a submenu option, move the pointer over the arrow to the right of the menu option (the submenu will open automatically to the right of the arrow) and choose the option you want.

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

Text editing

For text editing on the GUI (for example, to configure input and output channel names) you need to attach the supplied external USB keyboard (see “Rear panel connectors” on page 241). You can also use the navigation zone to help you (for example, by highlighting portions of text using drag).



Preferences



>> To enter/edit text via the keyboard

1 At the GUI, click within the desired text box. This will place an insertion point in

it; the pointer will change to an I-beam shape.

2 Using the keyboard, edit/type in the new text. Any existing text can be edited or

deleted using the right-click cut, copy and paste options.

3 On the keyboard, press ENTER to exit the text box (or click on an empty area of

the GUI screen). The pointer will change back to an arrow shape.

PRO1 Live Audio System

Operator Manual

Chapter 7: Navigation

This chapter introduces you to PRO1 navigation and shows you how to use the navigational tools of the PRO1 Control Centre to navigate its channels, groups and buses.

For information on other types of PRO1 navigation, refer to the following:

• To navigate the scenes in automation, see “Managing the scenes” on page 81.

•To open the GUI’s Patching screen, see “Navigating to the Patching screen” on page 54.

• To navigate the assignable controls, see Chapter 19 "Assignable Controls" on page 169.

An introduction to PRO1 navigation

The PRO1 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 PRO1 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.

The PRO1 has advanced navigational functions that are explained in this chapter.

Channel fader navigation

The channel fader section has eight channels. You can scroll (continuously) from inputs to outputs and vice versa, but only one type can be assigned to the control surface at any time. Channels are handled in banks of eight and are shown on the control surface and GUI in ascending order from left to right.

The following lists the types of navigation available on the PRO1.

• Scrolling single channels

• Scrolling channels banks

• Assigning a mix bus to the channel faders

• Scrolling the mix buses

• Assigning input channels to the channel fader bay or mix bay

• Assigning output channels to the channel fader bay or mix bay

• Navigating the processing area assignments to the channel faders

• Scrolling assignable control assignments

• Swapping the assignable control button assignments

• Assigning VCA groups to the mix bay

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44 Chapter 7: Navigation

Back button

Forward button

• Assigning GEQs to the mix bay

• Recalling the currently selected channel to the channel fader bay

For more information, see the PRO1 Live Audio System Quick Start Guide.

About GUI navigation

While the control surface provides instant, one-button access to many controls, the GUI provides an alternative way of navigating the PRO1 and offers some unique methods of its own. The GUI menu gives you access to all of the screens that you will need and you can even navigate backwards/forwards through the screens that you have recently opened.

Don’t forget that you can access some of the GUI screens directly by using the buttons in the screen access panel of the navigation zone.

>> To select a channel/group via the GUI

Click a non-control area of the channel. The local processing area will be assigned to the local channel strip (control surface and GUI).

>> To select a channel/group using the GUI menu

At the GUI, do one of the following:

• To select an input channel, choose home

containing the input channel you want to open (for example, channels 9-16), and click the desired input channel (for example, IN14).

• To select an output channel, choose home

containing the output channel you want to open (for example, Aux Sends 1-16), and click the desired output channel (for example, AS7).

• To select a VCA/POPulation group, choose home

Then click a non-control area in the desired group (for example, VCA5).

>> To assign a processing area to the output channel strip via the GUI

Click within one of the processing area panels in a GUI fast strip, making sure you avoid a control.

>> To find a GUI screen that you recently opened

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

• To return to the GUI screen you just opened, click the back button (as shown right).

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

The back/forward buttons, which are always to the right of the home button, are similar to those on standard browsers found on any PC.

Input Channels. Then, click the bank

Mix & Outputs. Then, click the bank

Control GroupsVCA Groups.

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Operator Manual

Chapter 8: Patching

This chapter describes the patching function of the PRO1.

Introduction

The patching function is fundamental to PRO1 operation as, until the I/Os have been correctly patched, you won’t get any audio. Patching is done entirely at the Patching screen, which is a GUI menu option. This screen lets you carry out all the routing requirements of the PRO1 by providing an easy-to-use interface, where you can select your source and destination patching options, facilitated by a panel of function buttons. Additionally, the Patching screen lets you set up any other devices connected within the system. For example, you can adjust the analogue gain, select +48V phantom voltage etc.

Terms used in PRO1 patching

• Checkpoint: A patching data store point, created by clicking CHECKPOINT.

• Destination: The patch connector to which a signal is routed.

• Device: A diagram on an I/O tab representing a physical rack unit, such as a

line I/O, mic splitter, DN9696, AES50 etc.

• Drag: A method of selecting a block of source patch connectors in the From section

of the Patching screen (see “To select a block of patch connectors in the From section” on page 63).

• From section: The left portion of the Patching screen, which contains the source

patch connectors.

• Patch connector: A patching point on any of the tabs. For example, an XLR

connector, bus, sidechain compressor, etc.

• Patching: The process of routing a channel/signal from a source to a destination(s).

• Source: The patch connector from which a signal is routed.

• Tab: A ‘sheet’ in the From and To sections that contains a specific group of patch

connectors.

• To section: The right portion of the Patching screen, which contains the

destination patch connectors.

About the Patching screen

The Patching screen has two main areas: a function button panel towards the top of the screen and a patching area below. The function buttons provide the required patching functionality and allow I/O tab devices to be set up. The patching area provides access to all the patch connectors.

The patching area is split equally into two independent sections, called From and To, which contain the source and destination patch connectors, respectively. The patch connectors are grouped on tabs according to type. Only one tab per section will be visible at any time.

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3 4

Figure 1: A typical Patching screen display

Item Description

1 Function button panel, contains the function buttons that enable patching

and device configuration (see “Patching screen function buttons” on page 47).

2 Patching area, contains all of the patch connectors on tabs.

3 From section, contains a number of tabs that house all of the patch

connector sources (see “About the tabs in the From and To sections” on page 48).

4 To section, contains a number of tabs that house all of the patch connector

destinations (see “About the tabs in the From and To sections” on page 48).

5 Status bar that shows the patching status of the inputs and outputs as a

percentage.

6 A pictorial representation of a physical device.

7 Section titles and tab names.

>> To open the Patching screen

Do one of the following:

• At the GUI, choose home

Patching.

• Press the routing / metering button in the navigation zone.

• At the appropriate GUI screen, click the src (source) or dest (destination) button. The Patching screen will open at the appropriate tab/configuration window.

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About the Patching screen 47

Patching screen function buttons

The function panel buttons of the Patching screen are described in the following table. When a button is selected, its background colour changes to a lighter shade.

Legend Description

SINGLE Lets you patch a single source to a single destination or multiple destinations.

See “Single patching (SINGLE)” on page 64.

SEQ. Lets you select multiple sources and then patch them one by one to their

destinations. With this method, each source can only have one destination. See “Sequence patching (SEQ.)” on page 64.

AUTO Lets you select a block of sources and patch them all automatically in one go,

simply by selecting a single destination. Any existing patches within the destination range will be replaced by the new ones. See “Automatic patching (AUTO)” on page 64.

NONE Clears all currently selected patch connectors from all tabs in the From and To

sections.

LIST Changes the tooltip type from standard to list to help with sequence patching.

This is only available when SEQ. is on (see “List tooltip” on page 57).

CHECKPOINT Sets a patching store point, or snapshot, that contains the patching status at

that instant. There is only one checkpoint available, so each time

CHECKPOINT is clicked the previous checkpoint is overwritten.

RESTORE Reverts patching status to the last checkpoint or, if no checkpoints have been

created, it will revert patching status to the power up condition. All patching done in the intervening period will be lost.

UNDO Undoes the latest single patch, even if it was part of a multiple patching

operation. Repeated clicks will undo the preceding patching operations, going back to the last checkpoint, or power up if no checkpoints have been created.

REDO Redoes an undo. This can be repeated for each undo in the previous undo

operation.

CLEAR SEL. Clears all current selections and their patches.

Important: Unlike the NONE button, which merely removes the current selections (highlighted in yellow), CLEAR SEL. goes a step further by removing the patch as well. This will stop any audio that may have been going through the patched signal.

CLEAR Clears all patching (see “To clear all current patching” on page 65).

Important: Exercise great caution when using this function. Observe the warning that appears after clicking this button.

CONFIG Opens the AES50 Device Configuration window, from where you can

configure the device (see “The AES50 Device Configuration window” on page 60).

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What the Patching screen symbols mean

The following table gives a description of all the symbols that appear on the Patching screen tabs.

Symbol Description

During patching, this triangle appears under a tab name when its tab sheet contains a selected patch connector.

Shown at the top of the channel patch connectors, this box aids channel identification by showing the channel’s user-configured colour.

Insert return patch connector.

Insert send patch connector.

Bus or channel source patch connector.

Bus or channel destination patch connector.

Female XLR chassis patch connector (input).

Male XLR chassis patch connector (output).

Jack patch connector.

Non-functional patch connector, that is, one that cannot be patched.

Compressor sidechain input patch connector.

Gate input patch connector.

DN9696 recorder patch connector.

Set-up button, which opens the device configuration window (see “Configuring the devices” on page 58 for details).

About the tabs in the From and To sections

The From section (left side of Patching screen) contains all of the source patch connectors on tabs, and the To section (right side of Patching screen) contains all of the destination patch connectors on tabs.

I/O tab — From

The I/O tab in the From section shows the inputs of the devices fitted within the system (see Figure 1 “A typical Patching screen display” on page 46).

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About the Patching screen 49

Busses tab — From

The Busses tab allows routing from the auxes, matrices and master outputs.

This tab can also be accessed directly via the dest button in the mixes section of the input channels and in the direct input section of the output channels (see “Direct input” on page 291).

Dir. Out (Direct Out) tab — From

The Dir. Out (Direct Out) tab allows you to patch any of the 40 input channels internally. For example, to an effect or to provide a way out of the DL251/DL252 Audio System I/O via a line I/O unit.

This tab can also be accessed directly via the dest button in the direct output section of the input channels.

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Ins. Sends (Insert Sends) tab — From

The Ins. Sends (Insert Sends) tab allows any of the input and output channels to be routed, primarily to an effects device.

Effects tab — From

The Effects tab allows patching from any of the effects.

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About the Patching screen 51

Mon. (Monitor) tab — From

The Mon. (Monitor) tab allows routing of the monitor outs and external talk destination.

This tab can also be accessed via the dest buttons on the Monitors screen.

Mon. tab output Equivalent on the Monitors screen

Monitor Out A L monitor A output L

Monitor Out A R monitor A output R

Monitor Out B L monitor B output L

Monitor Out B R monitor B output R

Headphone Out L N/A

Headphone Out R N/A

External Talk Destination external talk output

I/O tab — To

The I/O tab in the To section contains the devices fitted in the stage racks (except the mic splitters).

Inputs tab — To

The Inputs tab allows sources to be routed to the input channels and returns.

This tab is also accessed from the src button in the configuration section of the input channels.

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Dir. In (Direct Input) tab — To

The Dir. In (Direct Input) tab allows you to patch, for example, effects to the outputs.

This tab is also accessed from the src button in the configuration section of the output channels (see “Direct input” on page 291).

Ins. Ret. (Insert Return) tab — To

The Ins. Ret. (Insert Return) tab allows insert returns to be patched to any of the inputs and outputs.

This screen is also accessed directly via the src button in the insert section of both the input and output channels.

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About the Patching screen 53

Sidechains tab — To

The Sidechains tab allows patching to the compressor and gate of the input and output sidechains.

Effects tab — To

See “Effects tab — From” on page 50.

Mon. (Monitor) tab — To

The Mon. (Monitor) tab allows routing to the communications and monitors.

This tab can opened using the src buttons on the Monitors screen.

Mon. tab input Equivalent on the Monitors screen

Talk Input Source talk input

Talkback Input Source talkback input

Ext Input Source L external input L

Ext Input Source R external input R

PFL Direct Input Source pfl direct input

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Mon. tab input Equivalent on the Monitors screen

AFL Direct Input Source L afl direct input left

AFL Direct Input Source R afl direct input right

Navigating to the Patching screen

You can access the Patching screen from various other screens in the GUI menu, usually by clicking a source (source) or dest. (destination) button. When you click one of these buttons, not only will the Patching screen open, but the appropriate tab in the From/To section will be open as well.

About the devices on the I/O tabs

The following devices will, if selected (see “Setting up the I/O rack device(s)” on page 60), appear on the I/O tabs of the From/To sections of the Patching screen.

The device options in the following table are available for selection from the device type drop-down list in the AES50 Device Configuration window (see Figure 2 “The AES50 Device Configuration window” on page 60).

Device type Description Diagram

DL232A One of three devices that comprise

the DL232; the other two being “DL232B” and “DL321C”.

DL251A One of three devices that comprise

the DL251 Audio System I/O; the other two being “DL251B” and “DL251C”.

DL252A One of three devices that comprise

the DL252 Audio System I/O; the other two being “DL252B” and “DL252C”.

N/A Control Surface IO — represents

the input and output connectors on the rear panel of the PRO1.

N/A Monitor /AES3 — represents the

AES3 I/O connectors on the rear panel of the PRO1.

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About the Patching screen 55

Device type Description Diagram

Mic Splitter DL431 Mic Splitter.

Line IO DL451 Modular I/O.

Generic AES50 Audio-only device that is used to

represent the inputs and outputs of any third party AES50 device.

DN9696 Klark Teknik DN9696 Recorder. Use

up to four of these devices (with IDs 1 to 4) to represent the four AES50 ports for up to 96 channels of recording/playback.

For more information, go to our website www.klarkteknik.com.

DL351A One of four devices that comprise the

DL351 Modular I/O. The others are “DL351B”, “DL351C” and “Dl351D” (not displayed). For more information, go to our website www.midasconsoles.com.

None-Unknown Selects no device. N/A

Common device features

The device images have certain common features in their layout, as highlighted in the following diagram, which shows one of the I/O devices.

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321

Item Description

1 Unit type.

2 Unit ID number.

3 Unit name and PRO1-assigned unit number.

4 ‘Spanner’ button, opens the device configuration window (see “Configuring

the devices” on page 58).

5 XLR patch connector, which is male or female, depending on section

location.

6 Patch connector area. (The line I/O device shows the three card slots, A, B

and C.)

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Patching tooltips 57

Patching tooltips

Patching uses two types of tooltip — standard and list — to convey useful patching information about the patch connectors. A tooltip is a transitory object, in the form of a text box, that only appears while the GUI’s pointer is in the proximity of a patch connector.

Standard tooltip

The standard tooltip is the default type that appears during all patching operations. The following diagram shows, typically, the type of information provided by a standard tooltip.

Item Description

1 Patch connector information panel, contains information on the selected

patch connector, such as, name, ID, device name, device ID etc. Depending on the device type, a signal level meter appears if the channel is passing audio.

2 Routing information panel, contains patching information on the selected

patch connector. (If this panel is blank, the patch connector is not patched.)

3 The patch connector that the tooltip belongs to.

List tooltip

If you are carrying out a sequence operation, you can use the list tooltip to help in selecting the destinations in the To section. This tooltip, which has a distinctive translucent orange background, displays a list of the sources still to be patched. The list is in order of selection, with the first in the queue being at the bottom. You can only use the list tooltip for sequence operations.

Item Description

1 ID of the patch connector currently under the GUI pointer.

2 List of selected sources still to be patched. Contains channel and device ID

information.

3 The source patch connector currently waiting to be patched. Once patched,

this will disappear from the list and the one immediately above will become the next available.

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>> To select the list tooltip

Press LIST. (Pressing LIST again will change the tooltip back to the standard type.)

About the patching procedure

Although patching can be thought of as routing/rerouting the console’s incoming, internal and outgoing signals, in the context of the Patching screen, patching also encompasses the setting up and configuration of the devices. The patching procedure is initially carried out after system installation (see Chapter 4 "Setting Up The System" on page 25 of the operator manual) and comprises:

• Device configuration: Configure the devices by adjusting their parameters as necessary (see below).

• Setting up the I/O rack device(s): Set up the system devices, such as line I/O and mic splitter, on the I/O tabs in the From and To sections of the Patching screen (see “Setting up the I/O rack device(s)” on page 60).

• Patching: Carry out all of the required routing, for example, mics to input channels (see “How to patch” on page 62).

Configuring the devices

You have the option to configure the devices via the Patching screen. Parameters, such as gain and +48V phantom voltage, can be set via a device-specific configuration window.

These configuration 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 configuration window also allows control of audio parameters when the device is used as a direct connection 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 file and can be automated, even though the signals are not routed through the control centre DSP.

As the mic splitter control conforms to the DL431 Mic Splitter Inputs options (Use A

Inputs or Use B Inputs) in the Configuration Preferences section of the Preferences screen, it is not possible to control both the A and B settings on the mic

splitter from a single console.

Device configuration procedure

The procedure for configuring a device comprises:

• Opening the configuration window of the device.

• Selecting one of the device’s cards/channel ranges and configuring the available parameters.

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

• Repeating for the other devices.

• Closing the device’s configuration window.

Note: The parameters available for a device are dependent on its type.

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Configuring the devices 59

About the configuration window

The configuration window, which has a similar format for each device, comprises eight channel panels and drop-down lists for channel range/card selection. A typical Line I/O configuration window is used in the following diagram to show the elements that are common to each device.

Item Description

1 Device ID field, contains the device type and number.

2 Device drop-down list, for device selection. (Diagram shows the drop-down

list selected.)

3 Channel range/card selection list.

4 OK button, saves the changes and closes the configuration window.

5 Channel panel, contains device-specific controls and graphics.

>> To open the configuration window of a device

Click the device’s spanner button (upper right corner of device).

>> To set up/change the configuration of a device

1 In the device configuration

window, choose the device from the drop-down list. For example, the FOH line I/O device (ID11) connected to port 2.

2 From the drop-down list at the

upper-right corner of the window, choose the card/channel. For example, the “AES/EBU Card”.

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3 In a channel, configure its parameters. For example, in

channel “In1” adjust the gain and switch on the +48V phantom voltage (shown right).

Repeat for the other channels in the card as necessary.

4 Repeat step 2 and step 3 for the other cards as necessary.

5 If necessary repeat step 1 to step 4 for any other devices of

the same type.

6 Click OK.

Setting up the I/O rack device(s)

You can add, remove and set up the devices, such as line I/Os, mic splitters, DN9696s etc., that are connected to the Stage I/O and FOH I/O racks. This is done via the AES50 Device Configuration window (see Figure 2 “The AES50 Device Configuration window” on page 60), which is opened by clicking CONFIG. Here, you can set up the device’s ID and also the type of cards (modules) fitted in the physical unit. Some of the device fields may be blank, as they are dependent on the device type.

Figure 2: The AES50 Device Configuration window

Item Description

1 List of Stage and FOH ports with current device assignments.

2 device type: drop-down list, contains a list of the available devices to

choose from.

3 device ID: drop-down list, contains a full list of IDs for the selected device

type. Those already in use will be prefixed with the text “(In use)”.

4 device options: drop-down list(s) on modular I/O units only (for example,

the DL351) from which you can select the card that is actually fitted in the physical unit. The positions of the drop-down lists are relative to the card positions in the physical unit.

5 OK button, closes the AES50 Device Configuration window.

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Setting up the I/O rack device(s) 61

Device set-up procedure

The device set-up procedure comprises:

• Selecting the port (Stage or FOH) you wish to allocate the device to.

• Selecting the device type.

• Selecting an ID for the device.

• Selecting the options (if any) for the device.

>> To add a device or change its set up

1 Click CONFIG.

2 In the AES50 Device Configuration window, click the port you want to allocate

the device to; these are listed in the far left of the window. For example, choose “FOH Port 3 (unused)”. The text in the device type: field will change accordingly. Ports that don’t have a device allocated to them it will have the text “unused” inside the brackets after their name.

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

choose “Line IO”.

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

example, choose “ID3”.

5 In the device options: drop-down list(s), choose the type of each card fitted in

the physical unit. For example, choose “Analogue 8 Input”.

Repeat for any other cards.

6 Click OK.

>> To remove a device

Select the device from the list in the left of the AES50 Device Configuration window. Then, choose “None-Unknown” in the In the device type: drop-down list. For more information, see “To add a device or change its set up” above.

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62 Chapter 8: Patching

How to patch

Patching, basically, involves selecting the source patching connectors in the From section of the Patching screen and then selecting their destination(s) in the To section. You can select patches singly, or in multiples by using the sequence and automatic operations.

About the patch connectors

Each patch connector has three possible states, as indicated by its fill colour. The following table shows what each state signifies (the examples show XLR connectors, although it applies to any type of patch connector).

Symbol Description

Patch connector is neither selected or patched.

Patch connector is selected, but can be in either a patched or unpatched condition.

Patch connector is patched, but not selected.

Working with patch connectors

You can select patch connectors one at a time by clicking on them, or you can select them in blocks by using a drag operation. All of the patch connectors in both the From or To sections are on tabs so, before you can select a patch connector, its tab must be open.

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

Click the tab title. For example, Ins. Sends (insert sends).

>> To select a single patch connector

Click the patch connector. The effects of clicking a patch connector are shown in the following table.

Table 2: Effects of clicking a patch connector

Click To do this in the From section To do this in the To section

Select the patch the connector ( ).

Will do one of the following (provided a source patch connector(s) has been selected in the From section):

• Select the patch connector ( ) during a single patching operation.

• Patch the patch connector ( ) during either a sequence or an

automatic patching operation.

Otherwise, this has no effect.

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How to patch 63

Click To do this in the From section To do this in the To section

Deselect the patch connector, which then

reverts to its previous state (patched

or unpatched ).

Select the patch connector ( ) and all the ones it is patched to in the To

section. (A green triangle under a tab title shows that its tab contains one or more selected patch connectors.)

To quickly check the destinations of a source patch connector, click it. 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).

>> To select a block of patch connectors in the From section

Use a drag operation to create a bounding box around the desired connections (typically shown right).

This procedure can only be done during sequence and multi-patching operations (initiated by the SEQ. and AUTO buttons, respectively).

Remove the patch ( ).

>> To deselect all selected patch connectors

Click NONE.

>> To remove a single patch

In the To section, click the patch connector from which you want to remove the patch.

>> To remove all the patches of a single source

1 Make sure that no patch connectors are selected. If necessary, click NONE.

2 In the From section, click the source patch connector from which you want to

remove all of the patches. (This will select the source patch connector and also all of its destinations.)

3 Click CLEAR SEL.

>> To remove the patches from all selected patch connectors

Click CLEAR SEL.

>> To clear a block of patch connectors

1 Click NONE.

2 In the From section, select the patch connectors you want to unpatch.

3 Click CLEAR SEL.

4 Click NONE.

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Single patching (SINGLE)

The SINGLE function button allows you to patch a single source to a single destination or multiple destinations.

>> To patch a single source to a single destination

The following example shows you how to patch an output from a mic splitter to an input channel.

1 Click SINGLE.

2 In the From section, click the source

patch connector. For example, choose the first patch connector of a mic splitter. Its background will change to yellow and a green triangle will appear under the tab title.

3 Click the destination patch connector. For

example, in the Inputs tab of the To section, choose input channel 3 (Mic3). 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 PRO1 Control Centre.

4 Click the source patch connector (From section) again to complete the patch.

This can also be done by starting another single patch operation or by selecting another destination patch connector in the To section.

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

>> To patch a single source to multiple destinations

1 Patch the source patch connector to its first destination (see “To patch a single

source to a single destination” on page 64).

2 In the To section, 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 function by pressing SEQ. All of the source patch connectors are selected in the From section before patching them, one by one, in the To section. This saves you having to go back to the From section for the start of each patch. You can change the tooltip to the list type by clicking the LIST button (see “Patching screen function buttons” on page 47) to help you.

Automatic patching (AUTO)

You can patch a block of source patch connectors, just by selecting a single destination. This is called “automatic patching”. When using automatic patching, note the following:

• Sources are selected in blocks (see “To select a block of patch connectors in the From section” on page 63).

• You can only select one block of sources.

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How to patch 65

• Destinations are restricted to a single type.

• The selected destination forms the start of the automatically patched range of destinations.

• Sources and destinations are automatically patched in ascending order, the lowest numbered source and the selected destination forming the first patch.

• Sources will only be patched up to the highest numbered destination of the current destination type. If there are any sources left over, automatic patching pauses. You can then patch these by selecting another destination.

>> To automatically patch a block of source channels

1 Click AUTO.

2 In the From section, select the source patch connectors (see “To select a block of

patch connectors in the From section” on page 63).

3 In the To section, choose the destination patch connector that will form the start

of the patched range. For example, input channel 3 (Mic3).

4 Click the destination patch connector.

The sources will be patch in numerical sequence and in ascending order from here onwards.

Clearing all current patching

The CLEAR function button clears all current patching, and must be used with great caution. To alert you of the drastic nature of using this button, a WARNING appears.

>> To clear all current patching

1 Click CLEAR. The WARNING

window (shown right) will appear.

2 Heed the warning and do one

of the following:

• If you want to clear all

current patching, click OK.

• To cancel the clear operation and close the WARNING, click CANCEL.

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PRO1 Live Audio System

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Chapter 9: Basic Operation

Quick access button

SWAP button

Channel strip

gain

control knob

GUI channel strip

Gain/trim section

SWAP button

This chapter is intended to familiarise you with the PRO1 Control Centre by showing you how to carry out some basic operations in order to get some audio out of it.

Setting a mic amplifier’s input gain

The PRO1 Control Centre has two input gains per channel, one is the remote gain for the analogue mic pre (stage box gain) and the other is the digital trim (console gain). 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 using the gain

swap/[SWAP] button) to give you a more global control of the stage box gain.

PRO1 Live Audio System Operator Manual

Figure 3: Gain and filters sections of the input strip

Note: The gain trim control knobs in each input fast strip will adjust whatever has been ‘swapped’ to their respective strips. The stage box control knob in the input channel strip always controls the alternative ‘swap’ to the ones shown in the GUI input fast strips.

>> To set the gain of the stage box/console

1 In the gain trim section of an input fast strip, press the quick access button.

2 Press the SWAP button. This swaps console digital

This selects the input channel and assigns its configuration processing area to the GUI channel strip (shown above), which contains the SWAP (gain swap) button.

trim to stage box input gain (and vice versa). The diagram right shows the two types of gain that can appear in the input gain/trim section at the top of each GUI input fast strip.

68 Chapter 9: Basic Operation

3 Adjust the gain trim control knob to set the stage box input gain. Range is

shown on the GUI.

Adjust level to suit the Midas pre-amp characteristic; a suitable level could be one that only just illuminates the yellow LEDs. Drive the mic amps for that ‘Midas colouration’ — feel free to overdrive if you want.

4 After you have achieved the required gain state, press the SWAP button again to

swap back to console digital trim.

5 Adjust the gain trim control knob to set the console digital trim (gives +20dB to

-40dB continuous trim) for preferred gain structure.

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

Setting the high and low pass filters

When switched in, the high and low pass filters have two settings each, selectable via their respective SLOPE button. These filters can also be set via the GUI.

>> To set a filter

1 In the gain trim section of an input fast strip (see Figure 3, “Gain and filters

sections of the input strip,” on page 67), press the quick access button. This selects the input channel and assigns its configuration processing area to the GUI channel strip (shown above), which contains the filters section.

2 In the filters section of the input channel strip, press the filter select button

(high pass or low pass ) to switch the filter in.

3 If necessary press the filter’s SLOPE button to set its slope (dB); its status is

shown on the GUI. For the high pass filter, in = 24dB and out = 12dB, and for the low pass filter, in = 12dB and out = 6dB.

4 Adjust the high pass/low pass control knob to set filter frequency (Hz). The

ranges are 10Hz to 400Hz for the high pass filter and 2kHz to 40kHz for the low pass filter.

Important: Stage box hi pass — the remote stage box contains a 12dB/Oct 30Hz filter. It is recommended that this is used at all times for optimum A/D performance. However, it may be bypassed if extremely low frequency performance is required, for example, when testing the system.

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Input equalisation (E zone) 69

Quick access button

EQ select buttons

Input equalisation (E zone)

Use EQ to equalise the input signal via the treble, hi-mid, lo-mid and bass filters, which are in the input channel strip’s E zone. Treble and bass each have a parametric filter option with three specific shelving modes. Visual feedback for EQ is via GUI screen only, which also has a graphical representation of the filter.

>> To EQ the input signal

1 In the desired input fast strip, press EQ to switch the EQ in. This also selects the

channel and assigns the EQ processing area to the GUI channel strip.

2 Do one of the following to select the EQ band:

• In the input fast strip, press the quick access button of the desired band.

• In the E zone, press the treble/bass up/down arrow buttons until the button/LED of the desired band is illuminated.

On the GUI the currently selected EQ band will have a light coloured background. For example, treble in the above diagram.

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

desired.

4 If you have selected treble or bass, press SHAPE

(E zone) to cycle through the different shelving modes so that you can audition them. These are the ‘minimum harmonic disruption’ types, which are only available for treble (bright, classic and soft) and bass (deep, classic and warm). For example, the bright shelving mode of the treble band (shown right) as displayed on the GUI.

Alternatively, you can click the desired SHAPE button in the GUI channel strip.

Note: bright and deep use psychoacoustic phenomena to generate steep slopes that sound natural. These filters are called “minimum harmonic disruption filters”.

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Quick access buttons

Channel strip

comp

GUI channel strips

gate

Hard

Medium

Soft

Input dynamics processing (D zone)

This section deals with assigning compressor and gate dynamics processors using the controls in the input channel strip’s D zone. There are four compressors available — corrective, adaptive, creative and vintage — each with the option of hard knee, medium knee and soft knee (see Appendix A "Application Notes" on page 299). Visual feedback for both compressor and gate is provided by meters in each input fast strip, the dashboard screen and just above/below the graph, which gives a representation of the compressor/gate action.

Figure 4: Compressor and gate channel strips

>> To set up a compressor/limiter

1 Select the desired input channel.

2 In the channel strip, press the quick access button in the comp section (see

Figure 4 “Compressor and gate channel strips” above) to select the input channel’s compressor processing area.

3 Press ON in the comp section to switch the compressor in.

4 Operate the attack, ratio/range (ratio), release, threshold and make up

control knobs (hold has no effect) to apply processing. See “Compressor” on page 260. You can set up a limiter by using a high threshold and a steep ratio (greater than 5:1).

5 Press KNEE to audition the different

algorithms (hard knee, medium knee and soft knee). The effects on the signal are shown right.

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Output processing 71

6 Press MODE to try the different compressor types

(Corrective, Adaptive, Creative and Vintage). For example, Creative (shown right).

>> To set up a gate

1 Select the desired input channel.

2 In the channel strip, press the quick access button in the gate section (see

Figure 4 “Compressor and gate channel strips” on page 70) to select the input channel’s compressor processing area.

3 Press ON in the gate section to switch the gate in.

4 Operate the attack, ratio/range (range), release, threshold and hold control

knobs (make up has no effect) to apply processing. See “Gate” on page 264.

Output processing

All outputs — except for the returns — have a six-band PEQ with shelving modes on bands 1, 2 and 6, and have the option of using a GEQ (accessed via a GEQ button in GUI channel strip). The returns have a similar EQ to that of the inputs channels.

The outputs (except returns) have five compressor modes, which include all of the ones on the input channels, but with the addition of a shimmer mode. The returns have the same compressor modes as those of the input channels.

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Input channel LCD select buttons

VCA group LCD

select button

Using VCA/POPulation groups

VCA and POPulation groups allow simultaneous adjustment of a number of channels. Being instantly recognisable, they provide a quick method of bringing particular channels to the control surface and save you having to remember their name/number.

You can choose channel group associations and also configure the colour and legend of each group’s LCD select button, which is used for group member assignment and recall.

VCA groups include fader, solo and mute control, whereas POPulation groups merely bring a group of input channels to a desired area of the control surface for viewing or adjustment.

Assigning VCA group members

>> To assign channels to a VCA/POPulation group

1 If necessary, assign the VCAs to the mix bay by pressing VCA in the mix bay

section.

2 In the mix bay, press and hold down the LCD select button of the desired VCA.

For example, a VCA group named “Kit”. The button will start flashing when you are in group member selection mode and the inputs will jump to programme mode.

3 While still holding down the LCD select button of the VCA, press the LCD select

buttons (just above the channel faders) of the channels that you want as group members. For example, “Kik 1”, “Hihat” and “Sn1”. If necessary press INPUT (channel faders section) to assign the input channels to the channel faders and/ or scroll to a new channel bank.

4 Release the group’s LCD select button. The group now contains the input

channels you have just chosen and the group will be selected.

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Using VCA/POPulation groups 73

VCA Groups

POPulation Groups

Group name field

Pencil icon

Palette icon

Control knob icon

Fill icon

5 Press the VCA’s LCD select button again to exit the group.

To quickly see which channels are in a particular VCA group, press its SOLO button on/off. Monitor this action on the Console Overview screen. Only the SOLO buttons of channels that are group members will be affected.

Configuring VCA/POPulation groups

The default name and associated colour of a group, which appear on its LCD select button and on the GUI, can be configured to suit your own preference. You can also globally change the colour of the group members to match the group colour. Configuration is done via the Group Sheet screen (shown below).

Note: Clicking the control knob icon opens 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 navigation zone, press the vcas screen access button.

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

Do one of the following:

• Choose from a list of pre-configured names Click the pencil icon of the

group. Then, choose the name from the drop-down list. For example, choose “E Gtr”.

• Type in a new name Click within the name field of the group and then follow “To

enter/edit text via the keyboard” on page 42.

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

1 Click the palette icon of the group.

2 In the palette (shown right), click the colour you want. For

example, choose blue.

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Quick access button

mix section

GUI channel strip

Bar shows that this signal is pre-fader

Ramp shows that this signal is postfader

Bright number and coloured ramp/bar shows that this mix bus is currently selected; the colour corresponds to its associated control knob on the control surface and GUI processing area

Bright ramp/bar shows that this mix bus is on

Dimmed ramp/bar shows that this mix bus is off

This transition point, where solid colours change to translucent, indicates 0dB across the eight auxes

>> To change the colour of all of a group’s members to match that of its VCA/POPulation group

Click the fill icon of the group. For example, if the colour of the VCA/POPulation is blue all of its group members will now be blue.

Setting up a mix

The PRO1 has 24 configurable mix buses, each of which can be aux mixes, subgroups or mix minus. The aux mixes can also be set up as stereo pairs (restricted to likecoloured buses) or mono. To keep the control surface manageable, access to these mixes is confined to the mix section in the channel processing area, which can be scrolled up and down on a ‘virtual’ surface.

Figure 5: Mix section

On the GUI, the bank of mix buses in each input fast strip (see Figure 6 below) are colour matched, but also show mix bus status information.

Figure 6: Typical mix section in a GUI input fast strip

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Setting up a mix 75

>> To select the mix bus mode

1 In the mix bay, select the desired aux channel.

2 In the channel strip, press the quick access button to select the aux’s

configuration processing area.

3 In the GUI channel strip, click MODE repeatedly to cycle

through the mix modes (mix, group and mix minus) to choose the one you want. The currently selected mix mode is shown to the right of the MODE button.

group mode is fader only with no pre-fader. In mix minus mode all buses are initially routed — you have to switch a bus routing switch on to take it out of the mix. For information about stereo mix mode, see “Linking two mixes” on page 76.

>> To set up a mono aux

1 Making sure that the mix bus is not linked (to ensure mix is mono), select the bus

2 In the channel fader bay, select your desired input channel.

3 ‘Flip’ your desired mix send to the channel faders by pressing the appropriate aux

4 Use the channel faders and the assignable controls to create your desired mix.

Mix bus routing

You can route an aux or matrix (or even master output) to an effect or output. This is a GUI-only operation, which is done via the GUI channel strip or Patching screen (see Chapter 8 "Patching" on page 45).

>> To route an aux or matrix to an effect or output

Do one of the following:

• In the GUI channel strip, select the required mix bus destination from the drop-down list.

mix

mode as mix (see “To select the mix bus mode” above).

button in the mix sends section.

For more information, see the PRO1 Quick Start Guide.

• In the GUI channel strip, click dest (shown right). This will open the Patching screen and the appropriate tab.

•In the Patching screen, route the aux/matrix. For information on patching, see Chapter 8 "Patching" on page 45.

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Linking two mixes

You can link two mixes together, which is a GUI only feature. Pairs can only be created from adjacent mix buses of the same colour, for example, you can link auxes 3 and 4 together, but not 2 and 3.

>> To route an aux or matrix to an effect or output

To link a pair of mix buses, click the LINK button in the channel strip of either mix bus. For example, click LINK of aux 15 to link it to aux 16 (shown right).

Setting the linked parameter options

The shared parameters default to the user-configurable global default link settings, which are set via the GUI menu (choose

PreferencesGeneral and click the Linking tab).

home However, you can override these for the pair via the Stereo Linking Options window (shown right), which is opened by

clicking the st. linking options button (GUI channel strip).

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.

For details of the parameters that are stereo linked, see Appendix J "Parameters Affected By Stereo Linking" on page 467.

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Setting up the effects rack 77

Setting up the effects rack

You can set up the effects rack in the GUI menu’s Effects screen to contain any of the available effects listed in the Change Device Type window (see Chapter 16 "Internal Effects" on page 125) in any of the available rack positions. The diagram right shows the rack populated with all available effects.

The assignable controls panel (on control surface and GUI) lets you control the parameters of the selected effect.

>> To add an effect to the effects rack

1 At the GUI screen, choose homeRack UnitsEffects. Alternatively, press the

effects / graphics screen access button in the navigation zone.

2 Choose the rack position and click within it.

3 In the effect’s window, click Change Device Type.

4 In the Change Device Type window, select the device type.

For example, “Phaser”.

5 Click OK.

6 Change the parameters of the new effect device as

necessary. For example, adjust control knobs, press buttons etc. You can even change the effect’s name by editing its name field (upper-left corner of effect). You can do this via the GUI or from the I zone using the output bay GUI (see “PRO1 control surface” on page 18).

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channel strip

7 Click OK to exit. The new effect will appear in the

effects rack.

You can now patch the new effect, which will be on the

Effects tabs of both the From and To sections of the Patching screen. For information on how to patch, see

Chapter 5 "Patching" on page 23.

Simple routing to master stereo outputs

The following shows you how to obtain audio.

>> To obtain audio

1 Make sure nothing is muted and the master faders are up.

2 In the masters section of the channel strip, press ST (stereo). You should have

audio.

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Automation 79

Automation

PRO1 automation is managed from the Automation screen of the GUI menu, with support from the automation section of the control surface.

The Automation screen (a typical example is shown right) has the following functions and features:

• Show management — see “Managing the shows” on page 79.

• Scene management — see “Managing the scenes” on page 81.

• Event management — see “Additional control — managing events” on page 82.

• Cue list — shows the scenes and point scenes in performance order. The cue list includes information such as scene number, name, notes etc. You can expand and unexpand the point scenes and ‘zoom’ the list on/out. It also lets you reorder the scenes.

• Scope — the Recall Scope and Store Scope buttons open the scope screens, from which you can select the automated controls that you want to leave in/out of a scene when it is stored or recalled.

• Rehearsal — the Rehearsal button lets you carry out a rehearsal, which will ‘skip’ (leave out) any scenes that you choose.

Note: With no show loaded, the Automation screen will be blank.

>> To open the Automation screen

Do one of the following:

• At the GUI, choose home

• In the navigation zone, press the automation / filing 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” on page 36). The PRO1 will indicate that there are show settings to be saved by changing the background colour of the SAVE button to red (shown right).

AutomationAutomation.

The eye icon in the Automation screen (just under the ADD MIDI button) opens the Show window. This window contains a number of filter options, such as empty scenes, MIDI events etc., that you can choose to exclude from your show.

>> To create a new show

1 Click NEW.

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2 At the Enter new show name: message

window, type your chosen name for the new show.

3 Click OK. You can now create and manage

the scenes for your new show.

>> To save a show or create a new one from the current settings

Do one of the following:

• To update the current show with the latest settings, click SAVE.

• To create a new show using the current show

settings, click SAVE AS. Then, in the Save File window (shown right), type in the name of the new show in the Save this file as: name field. Click OK to save the new show and close the window.

• To overwrite an existing show, click SAVE AS. Then, in the Save File window (shown right), click the show you want to overwrite to select it, click the Overwrite existing? box to select it this option and then click OK.

>> To load a show

1 Click LOAD.

2 In the Load File window, click the show file

you want to load (shown right). For example, “Replica.show”. The file name will appear in the Load this file: name field.

The Load File window will contain a list of all the shows currently loaded. If the one you want is not there, import it (see “To load (import) a show file from a USB memory stick” on page 89).

3 Click OK. The file will start loading and the

window will close.

When the file has finished loading, its name will appear in the show file name field (to the right of the SAVE AS button).

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Managing the scenes

Up to three scenes in the cue list will be highlighted to indicate your position in the show, as follows:

• LAST (red) — the scene immediately before the most recently loaded one.

• NOW (yellow) — the most recently loaded scene.

• NEXT (green) — the next available ‘non-empty’ scene.

The automation section in the output bay (see “PRO1 control surface” on page 18) supports the Automation screen by providing controls for scene navigation, selection and management. The jogwheel is a unique automation controls, whereas the other buttons are replicated on the GUI.

>> 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.

Press last, now or next as desired.

>> To create a new scene using the current settings

1 Do one of the following:

• In the automation section, press store.

•In Automation screen on the GUI, click STORE SCENE.

2 In the Store Scene window, type in the scene

name if necessary.

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

desired.

4 Do one of the following:

• Click “Insert before scene” to put the new

• Click “Store to empty scene” to put the new

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scene in between the one currently highlighted in yellow and the scene immediately before it.

scene in the one currently highlighted in yellow, provided it is empty.

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• Click “Store to next scene” to put the new scene in the next one, provided it is empty.

• Click “Overwrite scene” to overwrite the scene currently highlighted in yellow.

The options are context-sensitive, so some may be greyed-out to show that they are unavailable. An OK button will appear at the bottom of the window when a valid store scene option has been selected.

5 Click OK.

Additional control — managing events

You can use the MIDI or GPIO functions of the PRO1 to control the parameters of an external device (outgoing), and conversely you can use an external device to control the PRO1 (incoming). Also, by using the PRO1’s unique ‘internal’ event option, you can trigger events from within the showfile 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; their parameters are set up and edited in an Edit Event window. Similarly to scenes/point scenes, you can skip events during rehearsals.

Events (and scenes/point scenes) have a right-click menu (shown right) that lets you to create, edit and copy events.

The following shows what some of the event symbols in the

Automation screen mean: = currently selected event; = MIDI

event; = GPIO event; = internal event; = incoming event;

and = outgoing event.

>> 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

Add

GPIO Event as necessary.

>> To edit an event

Midi Event, AddInternal Event or

1 Open the Edit Event window by doing one of the

following:

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

Edit.

• 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 At the upper-right corner of the Edit Event window, click

“X” to close it.

Changes in the Edit Event window are live, that is, they are immediately reflected in the show file. So you don’t have to save the scene, as these are not audio parameters.

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