Midas consoles PRO6 CONTROL CENTRE Quick Reference Guide

PRO6 Control Centre

Quick Reference Guide

Midas Klark Teknik Limited,

Klark Industrial Park,

Walter Nash Road,

Kidderminster.

Worcestershire.

DY11 7HJ.

England.

Tel: [phone]

Fax: [phone]

Email: [e-mail]
Website: www.midasconsoles.com

PRO6 Control Centre — Quick Reference Guide

DOC04-DL3 Issue B — June 2010

© Red Chip Company Ltd.

In line with the company’s policy of continual improvement, specifications and function may be

subject to change without notice. This Operator Manual was correct at the time of writing. E&OE.

IMPORTANT SAFETY INSTRUCTIONS

The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated “dangerous voltage”
within the product's enclosure that may be of sufficient magnitude to constitute a
risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user
to the presence of important operating and maintenance (servicing) instructions
in the literature accompanying the product.

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 a dry cloth.
7 Do not block any of the 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 Only use 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 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 Use the mains plug to disconnect the

apparatus from the mains.

16 Warning: To reduce the risk of fire or

electric shock, do not expose this
apparatus to rain or moisture.

17 Warning: Do not expose this

equipment to dripping or splashing
and ensure that no objects filled with
liquids, such as vases, are placed on
the equipment.

18 Warning: The mains plug of the power

supply cord shall remain readily
operable.

EC-Declaration of Conformity

Midas

DOC04-PRO6ECDOC Rev. B

EC-Declaration of Conformity

The undersigned, representing the following manufacturer

Manufacturer: Address:

Midas Klark Teknik Ltd. Klark Industrial Park, Walter Nash Road,
Kidderminster. Worcestershire. DY11 7HJ.

hereby declares that the following product

Product Type Number Product Description Nominal Voltage(s) Current Freq.

PRO6 Control Centre

115V AC
230V AC

2.9A

1.5A

50/60Hz

is in conformity with the regulations of the following marked EC-directives and bears the

-mark accordingly

reference number title

2004/108/EC EMC Directive (EMC)

2006/95/EC Low-Voltage Directive (LVD)

The conformity of the product with EC Directives for use in environment E4 is provided by compliance with
the following standards:

Standards/date:

Applied Electrical Safety test standards:

reference number title

EN 60065:2002

Audio, video and similar electronic apparatus. Safety requirements.

Applied EMC emission test standards:

ref. no. title

EN 55103-1:1996
Class A

EN 55103-1 Annex A: Radiated
magnetic disturbance, 50Hz-50kHz

CISPR 22: Radiated disturbance,

30-1000MHz

CISPR 22: Conducted disturbance,

ac & signal ports

CISPR 16: Discontinuous

disturbance

EN 61000-3-2:2000 Mains

harmonics

EN 61000-3-3:1995 Mains voltage

flicker

Applied EMC immunity test standards:

ref. no. title

EN 61000-4-2:1995 Electrostatic
discharge

EN 55103-2:1996
Class A

EN 61000-4-3:1996: Radiated RF
disturbance, 80-1000MHz

EN 55103-2 Annex A: Magnetic LF

disturbance, 50Hz–10kHz

EN 61000-4-4:1995: Fast transient

bursts, ac & signal ports

EN 61000-4-5:1995: Surge, ac port

EN 61000-4-6:1996: Conducted RF

field, ac & signal ports

EN 61000-4-11:1994: Mains voltage

dips and interruptions

Place, date: Kidderminster, UK
14th June 2010
General Manager AVP, Product Development
Printed name: John Oakley Printed name: Alex Cooper

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
MIDAS KLARK TEKNIK LIMITED ("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 SEPARAT E 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 MA TERIALS, 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 Compan y
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 from your purchase of this Product. The 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 Softw are,
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 li cence 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:

Midas Klark Teknik 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 pursuant 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 y ou 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.

xi

Precautions

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

This equipment is supplied by a mains voltage that can cause electric shock injury!
The following must be observed in order to maintain safety and electromagnetic compatibility (EMC)

performance.

Safety warnings

Signal 0V is connected internally to the
chassis.

To completely isolate this equipment from
the AC mains, while observing full safety
precautions (see “Power” on page xi),
switch off the isolator switch (above the
mains power sockets on rear of control
centre) and then switch off the mains at
the three mains outlets. Unplug the three
mains leads from the rear of the control
centre. For details of how to remove Volex
locking type plug, see “Power” below.

To avoid electrical shock do not remove
covers.

General precautions

In the event of ground loop problems,
disconnect the signal screen at one end of the
connecting cables. Note that this can only be
done when the equipment is used within a
balanced system.

Do not remove, hide or deface any warnings or
cautions.

Each mains inlet is to be sourced from its own
separate wall-mounted mains outlet socket.
Otherwise, their mains sources must be suitably
distributed so as to meet local safety
regulations.

A Volex locking type plug is fitted on each
supplied mains cable, which plugs into a mains
IEC connector on the unit. When fitted properly
the Volex plug locks into place, preventing it
from working loose, or being inadvertently
knocked loose or pulled out. To fit a Volex plug,
insert it into the mains IEC connector and push
it in until it locks in place. Then, check to make
sure it is locked in place. To remove it, release
its locking device and then pull it out. When
fitting or removing a Volex plug, always hold the
plug itself and never use the cable, as this may
damage it.

During operation, a minimum of two of its three
mains inlets must be connected and supplying
power.

When removing the equipment’s electric plugs
from the outlets, 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.

Power

The system power supplies contain LETHAL
VOLTAGES greatly in excess of the mains
voltage and its rails can produce extremely large
currents that could burn out equipment and
wiring if shorted.

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.

PRO6 Control Centre
Quick Reference Guide

Do not connect/disconnect a mains power

connector to/from the PRO6 Control Centre
while power is being applied to it. Switch the
power off first.

Before switching the PRO6 Control Centre on or
off, make sure that all monitor loudspeaker
power amplifiers are turned off or muted.

xii Precautions

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 hands in any gaps
or openings on the equipment, for example,
vents.

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, wash it out with soap.

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.

• 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.

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. Whenever 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.

Audio connections

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 control centre and, where
appropriate, they should have Pin 1 connected
to the cable screen.

Radio frequency interference—Class A device

This equipment has been tested and found to
comply with the limits for a Class A digital
device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable
protection against harmful interference when
the equipment is operated in a commercial
environment. This equipment generates, uses,
and can radiate radio frequency energy and, if
not installed and used in accordance with the
instruction manual, may cause harmful
interference to radio communications.
Operation of this equipment in a residential area
is likely to cause harmful interference in which
case the user will be required to correct the
interference at his own expense.

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

PRO6 Control Centre

Quick Reference Guide

Precautions xiii

frequency corresponding to the modulation
signal may be experienced under extreme
conditions (3V/m, 90% modulation).

Safety equipment

Never remove, for example, covers, housings or
any other safety guards. Do not operate the
equipment or any of its parts if safety guards
are ineffective or their effectiveness has been
reduced.

Optional equipment

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

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.

PRO6 Control Centre
Quick Reference Guide

xiv Precautions

PRO6 Control Centre

Quick Reference Guide

xv

Contents

Overview

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

About this guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Chapter 2 PRO6 Live Audio System . . . . . . . . . . . . . . . . . . . . . . .3

System components (standard supply) . . . . . . . . . . . . . . . . . . . . . . . .4

Chapter 3 About The PRO6 Control Centre. . . . . . . . . . . . . . . . . .5

Overview of the PRO6 Control Centre . . . . . . . . . . . . . . . . . . . . . . . . . 5

Bay and GUI layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

PRO6 control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Front and rear panel connections . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Operation

Chapter 4 Before You Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Principles of operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Operating modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Hints and tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Saving your work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chapter 5 Working With The PRO6 Control Centre . . . . . . . . . .17

About channel operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

About GUI operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Operating the GUI screen controls . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Using the GUI menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Text editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Chapter 6 Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

An introduction to PRO6 navigation . . . . . . . . . . . . . . . . . . . . . . . . . 21

About the navigational controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

About GUI navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

About the navigation ‘select’ sections . . . . . . . . . . . . . . . . . . . . . . . . 24

How to navigate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Chapter 7 Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Function buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

About the patching procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Configuring the devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Configuring the PRO6 with the snake type . . . . . . . . . . . . . . . . . . . . . 33

PRO6 Control Centre
Quick Reference Guide

xvi

Setting up the I/O rack devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

How to patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Chapter 8 Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Setting a mic amplifier’s input gain . . . . . . . . . . . . . . . . . . . . . . . . . .37

Setting the high and low pass filters . . . . . . . . . . . . . . . . . . . . . . . . .38

Input equalisation (E zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Input dynamics processing (D zone) . . . . . . . . . . . . . . . . . . . . . . . . .40

Output processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Using VCA/POP groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Setting up a mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Using fader flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Setting up the effects rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Simple routing to master stereo outputs . . . . . . . . . . . . . . . . . . . . . .49

Scene and show management (automation) . . . . . . . . . . . . . . . . . . . .50

Configuring the inputs and outputs . . . . . . . . . . . . . . . . . . . . . . . . . .56

Using copy and paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

User library (presets) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Surround panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Two-man operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Saving your show files to a USB memory stick . . . . . . . . . . . . . . . . . .61

External AES50 synchronisation . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Security (locking mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Connecting And Setting Up The System

Chapter 9 Setting Up The System . . . . . . . . . . . . . . . . . . . . . . . 65

Initial set-up procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Unpacking the equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Making up a rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Wiring instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Powering the PRO6 system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Switching the PRO6 Control Centre on/off . . . . . . . . . . . . . . . . . . . . .68

Setting up the DL351 Modular I/O unit ID . . . . . . . . . . . . . . . . . . . . .69

Appendices

Appendix A Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

No audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Diagnostics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Swapping the active network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Swapping the active master controller . . . . . . . . . . . . . . . . . . . . . . . .76

PRO6 Control Centre

Quick Reference Guide

Volume 1:Overview

PRO6 Control Centre
Quick Reference Guide

Chapter 1: Introduction

Welcome to the PRO6 Control Centre. The PRO6 Control Centre is a user-friendly,
state-of-the-art, high performance digital console specifically designed for live use.

The PRO6 Control Centre, which forms an integral part of the PRO6 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 Quick
Reference Guide and, finally, enjoy your Midas XL8 Live Performance System!

About this guide

1

This is the Quick Reference Guide for the PRO6 Control Centre. Its purpose is to quickly
familiarise the user with the PRO6 Control Centre, show how to set up the XL8 Live
Performance System and then show how to carry out some basic operations on the
PRO6 Control Centre in order to produce some audio. This guide is structured such that
it may also provide a useful introductory guide for training purposes.

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

This guide has been structured specifically so that mix engineers and system
technicians can go straight to the areas applicable to them, that is, “Operation” on
page 11 and “Connecting And Setting Up The System” on page 63, respectively. The
rest of the guide is intended for general readership.

For full details on the XL8 Live Performance System and the PRO6 Control Centre, refer
to the XL8 Live Performance System Owner’s Manual (part number DOC02-DL3), which
can be found on our website at www.midasconsoles.com.

Note: The content of this guide does not supersede any information supplied with any
other item of the PRO6 Live Audio System.

PRO6 Control Centre
Quick Reference Guide

2 Chapter 1: Introduction

PRO6 Control Centre

Quick Reference Guide

Chapter 2: PRO6 Live Audio System

The PRO6 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.

Despite its compact size the standard PRO6 offers 56 channel inputs, eight auxiliary
returns, 41 buses (16 auxes, 16 matrices, three masters and six solos), eight on-board
effects processors, PEQs (four-band on inputs and six-band on outputs), eight standard

(up to 36 maximum) 31-band GEQs, eight configurable stereo effects
panning and comprehensive, easy-to-use routing. PRO6 automation provides up to
1,000 scenes with snapshot save/recall capability and global edit, and show file
archiving.

The PRO6 Control Centre forms the core of the PRO6 Live Audio System, which also
includes two 19” rack units — a DL351 Modular I/O (7U) and a DL371 Audio System
Engine (7U) — that are interconnected by a networked data system. The network
carries both proprietary control data and open architecture AES50 digital audio, and
uses readily available standard cabling and connectors. The PRO6 uses a proven stable
Linux operating system. All of the control centre’s internal and network routing
(“patching”) is managed via the graphical user interface (GUI).

Operation of the control surface is intuitive, unique and easy. Its layout is based on
familiar analogue lines to retain that ‘analogue’ feel. To manage the numerous
channels, the PRO6 Control Centre utilises VCA/POP groups and colours, and
additionally there are various navigational controls that aid quick channel/bus access
and selection. A daylight-viewable GUI at the top of the control surface assists
operation and provides extra functionality.

The PRO6 Live Audio System is tolerant of many types of hardware or software failure.
To achieve this the system employs dual redundancy, where a key component has an
identical redundant spare that is ready to take over should it fail. Other failure
scenarios are managed by the N+1 principle, where redundant components form an
acceptable fraction of the system.

The Klark Teknik DN9696 Recorder can be used with the PRO6 Live Audio System for
live multi-track recording and ‘virtual’ sound check. Optional equipment includes the
XL8’s DL451 I/O and DL431 splitter, and the DN9331 RapidE for remote GEQ operation.

1

, 5.1 surround

3

1. Each can be configured to generate four additional GEQs, making a total of 36 available on the control
centre (plus one stereo effect).

PRO6 Control Centre
Quick Reference Guide

4 Chapter 2: PRO6 Live Audio System

System components (standard supply)

The PRO6 Live Audio System is modular, allowing for some variations in physical
placement and system size. The standard PRO6 touring system package is configured
as a 14U rack (containing two DL3n1 units) in a single, easily portable flight case, with
an equally portable, flight-cased control surface and minimal cabling. This package
comprises:

• 1-off PRO6 Control Centre (in a flight

case). Its user-configurable modular
I/O rack (rear panel) will be populated
with the following modules (from top to
bottom):

• DL443 analogue Jack I/O module,
providing eight Jack line inputs and
eight Jack line outputs.

• DL441 analogue input (mic) module,
providing eight balanced mic/line
inputs.

• DL442 analogue output module, providing eight balanced line outputs.

• 1-off main 14U rack (in a flight case), which houses:

• 1-off DL351 Modular I/O. This is populated with
seven DL441 analogue input modules (56 main
inputs) and a DL442 analogue output module.
There are a total of 56-off XLR mic/line inputs
provided on the system.

• 1-off DL371 Audio System Engine. This is
populated with five cards, the two empty slots
being blanked off. (If the optional N+1
redundant DSP module card is fitted, there will
be six cards and one empty slot.)

• 4-off interconnecting (N+1) rack Cat 5e copper
cables.

• 2-off interconnecting (dual redundant) gigabit
HyperMac Cat 5e copper cables, each 100 m long.

• 8-off mains cables.

PRO6 Control Centre

Quick Reference Guide

Chapter 3: About The PRO6 Control Centre

This chapter introduces you to the PRO6 Control Centre and provides a brief hardware
description.

Overview of the PRO6 Control Centre

The PRO6 Control Centre has a combined control surface and GUI that provide an array
of easy-to-use controls for the precise manipulation of audio.

The PRO6 Control Centre is of modular construction and is built on a robust Midas steel
frame chassis similar to those used for established Midas analogue products. The frame
houses three full size bays with a smaller one on the right. All of the bays are
controlled from a single processor and, collectively, provide the primary mixing needs
of the engineer.

All associated power supplies, computer motherboards, memory, graphics cards etc.
are housed within the PRO6 Control Centre, which also contains a digital audio router
box that supports local FOH (insert) I/O connectors on the rear panel. Substantial
forced air-cooling is provided by a bulkhead and large (but slow moving) internal fans.
These produce very low noise, suitable for seated areas theatres and concert sound.

5

Externally, the PRO6 Control Centre has three main areas: control surface, GUI and
rear panel. The control surface is populated with instantly recognisable controls that
are logically distributed in major sections. The GUI, which comprises two screens at the
top of the centre bays, enhances operation by providing visual representations of the
control surface and also gives you extra functionality. The rear panel provides all of the
control centre and network connectivity, and houses the mains power sockets and
isolator switch.

Being of modular design, the overall form and shape of the PRO6 is similar to Midas’
flagship XL8. The PRO6 is split into bays, each one containing a flat fader tray and
shallow raked control area. The centre bays also have a third area that houses a
steep-raked display screen.

PRO6 Control Centre
Quick Reference Guide

6 Chapter 3: About The PRO6 Control Centre

6

1

2

5

3

4

1 Input bay (12-channel).
2 Mix bay.
3 Master bay.

4 Input bay (4-channel).
5 Mix bay GUI screen.
6 Master bay GUI screen.

7 Talk mic and USB

connectors.

7

Multiple hardware fault types are tolerated by the PRO6 Control Centre without loss of
audio control due to the dual redundancy and N+1 methods incorporated in the system.
This is further helped by the modular nature of the bays and GUI independence. Either
of the GUI screens can be used to operate the whole PRO6 Control Centre, even if none
of the control surface hardware is working. The unit offers the facility of universal
input, N+1 redundant power supplies with three latching mains connectors.

Bay and GUI layout

The PRO6 Control Centre has four discrete bays that house the following control surface
controls:

• Input bays (12-channel and 4-channel) — two input bays provide fast access to
input faders and important signal processing controls.

• Mix bay — provides access to outputs and groups, a detailed processing controller
(all channels) and navigational controls.

• Master bay — provides access to the master output mixes, monitor (A and B)
faders, automation, comms control, assignable effects control, and another set of
detailed processing and navigational controls.

Figure 1: Bay and GUI layout

T wo GUI display screens at the top of the central bays pro vide extensive screen support
(standard configuration) and extra functionality for the channels and buses. For
example, when mixing or processing. They also facilitate the use of the GUI menu,
which gives you access to the many powerful features of the PRO6, such as patching,
effects, GEQs, diagnostics etc.

PRO6 Control Centre

Quick Reference Guide

PRO6 control surface 7

A A

B

D

E

G

H

A — input fast zone: 16 input fast

strips across the 12-channel and
4-channel input bays provide the
operator’s ‘must have now’ controls.

B — channel strip and mixes:

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

C — channel and bus navigation

zone: sections for channel and bus

navigation and selection. For details, see
Chapter 6 “Navigation”.

D — output fast zone: 16 output fast

strips can be used for mixing and
processing aux, return, matrix and
master channels. Navigation and flip
buttons are on the right of the output fast
strips.

E — VCA and POP groups: VCA faders

and POP group sections.

F — miscellaneous: master channel

strips, A and B signal path monitoring,
communications, I-zone, surround
monitoring and mute groups.

G — primary navigation zone:

trackballs for mix and master bay GUI
screen control, and a screen access panel
(between trackballs) for direct access to
GUI menu options.

H — automation: scene store/recall

and system edit.

C

C

F

B

PRO6 control surface

The control surface of the PRO6 Control Centre is divided into areas (see Figure 2)
whose function is, largely, dependent on bay location. Each bay has assorted control
elements with local feedback and/or support from the two centrally located GUI display
screens. The screens can be remoted via external VGA connections, and third party
systems can also be viewed/controlled via an integrated KVM switch on the rear panel.

Figure 2: Main areas of the control surface

PRO6 Control Centre
Quick Reference Guide

8 Chapter 3: About The PRO6 Control Centre

Channel

strip

Overview screen

(mix bay GUI screen)

InputsOutputs

All meters display

Inputs and

automation

summary

Meters screen

(master bay GUI screen)

Banner

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

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

GUI

The GUI comprises two screens that provide a pictorial representation of the control
surface layout so that its displays are easy to follow at a glance. Not only does it reflect
what is happening on the control surface, but it also provides extra functionality via a
GUI menu. This menu provides access to all the screens that you will require to set up,
configure, manage and operate the entire PRO6 Control Centre, all from a single
drop-down list of easy to follow options.

Figure 3: Layout of the GUI screens

PRO6 Control Centre

Quick Reference Guide

Front and rear panel connections 9

Mains power

and ventilation

Audio, control

and networking

I/O

Each GUI screen has its own default display (Overview and Meters as shown in
Figure 3), although either is selectable via the GUI main menu. The Overview screen
displays 12 inputs and two sets of eight outputs, and the Meters screen shows all the
meters, four inputs and a summary of the automation. Both screens have a banner at
the top, which is constantly displayed, and a channel strip down the outermost side.

The channel strips have a similar function to the ones on the control surface (see
Figure 2 on page 7), but provide extra functionality. Each displays an ‘overview’ of the
associated selected channel, which is divided into specific sections that provide access
to processing areas.

Front and rear panel connections

The PRO6 has connector panels on both the front and rear of the control centre.
The panel to the left of the mix bay GUI screen (item 7 in Figure 1) has an XLR socket

and two USB sockets for connecting a talk mic and USB devices, respectively. For
example, you can connect a USB memory stick for show file backup and transfer, or a
USB keyboard for text editing on the GUI.

A connector panel on the rear of the PRO6 Control Centre has three main sections (see
below). On the left are three mains power inlet and ventilation assemblies, with a
DC power switch above. The mid-section contains connections for the audio, network,
communications, intercoms, synchronisation, external remote devices and peripheral
devices. The section on the right is the user-configurable modular I/O section.

The modular I/O section can house up to three of any of the following I/O modules in
any combination: DL441 analogue input module; DL442 analogue output module;
DL443 analogue insert input/output module; and DL452 digital in/out (AES/EBU)
module. This gives a maximum of 24 inputs and 24 outputs, if the appropriate cards
are fitted. The following diagram shows the standard I/O module configuration in which
the DL443 (top), DL441 (middle) and DL452 (bottom) are fitted.

PRO6 Control Centre
Quick Reference Guide

10 Chapter 3: About The PRO6 Control Centre

PRO6 Control Centre

Quick Reference Guide

Volume 1:Operation

PRO6 Control Centre
Quick Reference Guide

Chapter 4: Before You Start

This chapter is intended to familiarise you with the PRO6 Control Centre by showing you
how to carry out some basic operations in order to get some audio out of it.

Note: As the operation of both input bays is principally the same, this chapter will
generally only show the operation of the 12-channel input bay. Any differences in
operation between the 4-channel and 12-channel input bays will be shown.

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

Principles of operation

PRO6 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.

13

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

Operating modes

You can change certain aspects of PRO6 operation by assigning different tasks to
certain areas of the control surface. This section will explain the different ways in which
the control surface can operate.

Normal mode

During normal operation the 12-channel input bay is operated from the mix bay
controls and GUI screen, while the controls and GUI screen in the master bay operate
the 4-channel input bay. Both input bays operate in unison and are, in effect, area A.
(The 12-channel input bay will always be area A, no matter which operating mode you
are using.)

Using the 4-channel input bay as area B

You can assign the 4-channel input bay as area B, thus making both the input bays
independent from each other. This facilitates two-man operation, which is described in
“Two-man operation” on page 60.

PRO6 Control Centre
Quick Reference Guide

14 Chapter 4: Before You Start

Operating the top output fast strips from the master bay

During normal operation, both rows of output fast strips — which are always
independent from each other — are operated using the controls in the mix bay.
However, you can assign the master bay to control the top row of output strips.

>> To switch control of the output strips to the master bay

Press the right arrow (to right channel) button (see Figure 7 “Location of the
navigational controls on the control surface” on page 26).

Controlling the mix buses in flip mode

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

In flip mode the left/right arrow buttons in the upper channel select section scroll
across the input fast strips.

>> To configure the PRO6 for pan or fader flip

1 At the GUI, choose homePreferencesGeneral.
2 Depending on which option you require, click the option button of one of the

following in the Fader flip section. When an option is selected, it will contain a
red circle:

• “Flip to faders”.

• “Flip to Pans”.

>> To flip mixes to input pan/fader control

With an output selected on the control surface, press FLIP (see Figure 7 “Location of
the navigational controls on the control surface” on page 26). The button will illuminate
to show you are in ‘flip’ mode. The currently selected mix bus in the input fast strips
will change to AuxS1 and, on the GUI, the background colour of the pans and faders will
change accordingly. Also, the LCD select buttons in the input fast strips will display the
current bus mode, for example, “MONO AUX”.

Hints and tips

• Check what is hidden: On the PRO6, unlike on an analogue control surface, some
of the settings and parameters will be hidden from view (stored in the computer
memory of the PRO6). At various times during a mix we recommend that you select
and view unused parameters to make sure there are no hidden surprises, for
example, a reverb send left from a previous mix.

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

PRO6 Control Centre

Quick Reference Guide

Saving your work 15

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 practise during normal PRO6 operation,
but in this instance it may save you from losing some set-ups that could prove useful
later on. To do this, create a new show (see “To open the Automation screen” on
page 50), 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 53 and “To save a show or create a new one
from the current settings” on page 51).

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 unless you manually store a scene. The show file remains
unsaved in RAM.

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 lev el
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 PRO6.
This provides you with a ‘permanent’ copy, provided you shut down the system
properly as detailed in the following section.

Shutting down the PRO6 Control Centre properly

When switching off the PRO6 Control Centre, we recommend that you use the shutdown
option of the GUI menu (see “To switch off the PRO6 Control Centre” on page 68).

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 PRO6 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.

PRO6 Control Centre
Quick Reference Guide

16 Chapter 4: Before You Start

PRO6 Control Centre

Quick Reference Guide

Chapter 5: Working With The PRO6

Trackball

Left trackball button

Right trackball button

Control Centre

Although many controls on the PRO6 Control Centre are similar to their equivalent
analogue-type counterparts, some have been specifically designed for the PRO6,
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 PRO6
controls and their operation. Therefore, this chapter only deals with the GUI controls
that may be new to you.

The navigational controls, such as quick access buttons and scroll buttons, are
described in Chapter 6 "Navigation" on page 21, and the ones specifically for
automation can be found in “Managing the scenes” on page 52.

About channel operation

17

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

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

About GUI operation

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

Figure 4: Controlling the GUI

Each trackball controls the movement of a pointer on its respective GUI screen (see
Figure 4). Move your finger on the trackball to operate the pointer on its associated
GUI screen. The left trackball operates the mix bay GUI screen and the right one
operates the GUI screen in the master bay. Each trackball has two buttons, which have
similar functionality to the buttons on a PC/laptop mouse. The left button is used in

PRO6 Control Centre
Quick Reference Guide

18 Chapter 5: Working With The PRO6 Control Centre

Drop-down

arrow

Currently selected

list item

click and drag operations, while the right button is generally used for editing and finer
control operations.

Click

Moving the pointer to a specific point of the GUI screen and pressing the left button is
called “clicking”. This is fundamental to GUI operation and forms the basis of many of
its operations, such as switching a button on/off, selecting list and menu items, text
editing etc. Doing the same with the right button is called “right-clicking”.

Drag

Moving the pointer to a specific point of the GUI screen and then pressing the left
button while moving the pointer up/down/left/right is called “dragging”. Dragging is
used mainly to adjust control knobs and faders, and to move sliders (attached to
drop-down lists)—although it is also used to select blocks of connectors when patching.
The pointer disappears when the control has been selected to show that it is ready for
adjustment.

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.

>> 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.

PRO6 Control Centre

Quick Reference Guide

Using the GUI menu 19

Scroll arrow

Scroll bar

Scroll box

B

C

A

GUI main
menu

Right arrow
shows that the
option has a
submenu

>> 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. Clicking a scroll arrow when
the scroll box is adjacent to it has no
effect.

Using the GUI menu

You can access the GUI main menu by clicking the home button, which is constantly
displayed at the upper-left corner of both GUI screens. Menu options with an arrow on
the right have a submenu. The background colour of a menu option will be blue when it
is available for selection.

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

PreferencesGeneral

home

>> To access the GUI main menu
Click home.

>> To select a GUI menu option

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

PRO6 Control Centre
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20 Chapter 5: Working With The PRO6 Control Centre

>> To access the submenu of a GUI menu option

Move the pointer over the arrow on the right of the menu option. The submenu will
appear automatically to the right of the arrow. Click an option in the submenu to select
that option.

Opening a GUI menu screen using the screen access buttons

You can quickly open a GUI menu screen in the master bay GUI by using the screen
access buttons in the primary navigation zone. Press the button once to open the first
screen (printed to the right of the button) and press it again to open the second screen.
An example of each is shown in the following diagram.

Text editing

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

>> To enter/edit text via the keyboard

1 At the GUI, click in the text box to place an insertion point in it. The pointer will

change to an I-beam shape.

2 Using the keyboard, type in the new text. If the text box already contains some

text, you can delete this first or edit it, which can be done via the keyboard or by
using the cut, copy and paste options after right-clicking.

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

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

PRO6 Control Centre

Quick Reference Guide

Chapter 6: Navigation

1-12 13-16 17-28 28-32 33-44 45-48 49-56

This chapter introduces you to PRO6 navigation and shows you how to use the
navigational tools of the PRO6 Control Centre.

For information on navigating the scenes in automation, refer to “Managing the scenes”
on page 52.

An introduction to PRO6 navigation

The PRO6 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 PRO6 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 way the PRO6 is set to operate may alter the function of some of the navigational
controls. For more information, see “Operating modes” on page 13.

21

How the input channels are managed

To aid navigation the 56 input channels are grouped into 14 ‘banks’ of four channels
each. The banks contain the following consecutively numbered channels: 1 — 4,
5 — 8, 9 — 12 etc., up to 53 — 56. (Figure 5 shows the number of consoles required to
show all of the available inputs simultaneously.)

Figure 5: All inputs

During normal operation, four banks of input channels populate the input bays (see
Figure 6 “Input channels in the input bays” on page 22). These are displayed across
the control surface in ascending order from left to right.

PRO6 Control Centre
Quick Reference Guide

22 Chapter 6: Navigation

Three banks of four
input channels each
(12 channels in total),
which are also shown
on mix bay GUI screen

A single bank of four
input channels,
which are also shown
on master bay GUI
screen

Figure 6: Input channels in the input bays

About the navigational controls

The PRO6 navigational controls can be broadly divided into two main areas: those that
operate the channels currently populating the control surface (quick access buttons and
LCD select buttons) and the ones that navigate channels to/from the control surface
(scroll buttons and output select buttons) — although there may be some overlap.

Table 1: Description of the navigational controls

Type Description Example(s)

Quick access
button

LCD select
button

Scroll button Scrolls through the channels/mixes. The direction of scrolling

Output
select button

Quickly selects the channel, mix bus or processing area you want.
The buttons, which are round and translucent, illuminate (blue)
when active.

The quick access buttons in fast strips select their local channel
and assign their local processing area to the associated channel
strip. The ones in the channel strips select their local processing
area, but don’t affect channel selection.

Selects the local input channel/group (VCA/POP). The buttons
have a backlit LCD display, which provides useful feedback by
showing you information, such as channel/group name, and by
identifying the group from the user-configured backlight colour.
When selected, the display changes to a ‘negative’ image.

matches the analogue convention, where channels are left/right
and mixes are up/down. The scrolling action of the buttons (or
the number of channels/buses scrolled per press) varies according
to location. The buttons are translucent and have a blue backlight
that illuminates when pressed.

The scroll buttons are grouped in pairs in the ‘select’ sections of
the mix and master bays (see Figure 6 on page 27). For more
information, see “About the navigation ‘select’ sections” on page

26.
Navigates its associated bank of outputs to the control surface.

The buttons are translucent and have a blue backlight that
illuminates when pressed; the backlight stays on to show you
which bank of outputs is currently populating the control surface.

PRO6 Control Centre

Quick Reference Guide

About GUI navigation 23

Type Description Example(s)

channel
select

(lower) and

channel
type

sections

ALIGN
button

B button Located in the master bay input select section, this button

Right arrow
(to right
channel)
button

Used in combination to navigate a single channel of a particular
type to the control surface, which is generally used for rectifying a
fault on a problem channel.

For location details, see Figure 7 “Location of the navigational
controls on the control surface” on page 26.

Located in both input select sections, this button navigates the
currently selected channel to the local input bay. This is useful,
for example, if you have scrolled away from the selected channel
on the control surface and you want to get the fader back.

assigns the 4-channel input bay as area B. This operates with the
channel strip on the right (in the master bay).

Located to the right of the top set of output select buttons, this
button assigns the channel strip, navigation controls and sends in
the master bay to the top row of outputs.

About GUI navigation

The GUI menu lets select any channel or group, and you can navigate between the
channel’s overview and processing areas in the GUI channel strip.

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

At the GUI, do one of the following:

• To select an input channel, choose homeInput Channels. Then, click the bank
containing the input channel to open its submenu, and click the input channel.

• To select an output channel, choose home
containing the output channel to open its submenu, and click the output channel.

• To select a VCA/POP group, choose home
click the group you want.

>> To select a processing area in the GUI channel strip

With a channel overview displayed in the GUI channel strip, click in a non-control area
of the section you want.

To access the mix bus processing area, click on the aux or matrix text in the overview
display of the channel strip.

Mix & Outputs. Then, click the bank

Control GroupsVCA Groups. Then,

PRO6 Control Centre
Quick Reference Guide

24 Chapter 6: Navigation

Back button

Forward button

>> To navigate back to the overview display from a processing area in the GUI
channel strip

Click the up arrow, as shown right.

>> 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.

About the navigation ‘select’ sections

The ‘select’ sections in the mix and master bays (see Figure 7 on page 26) are used for
navigating the channels and mixes, and also show you which ones are currently
selected. They have the following functions:

• channel select (upper) section — scrolls either the input or output fast strips
(depending on selected channel type) channel-by-channel. Current channel
selection follows the scroll, which is shown on the section’s display, along with the
channel type.

• input select section — scrolls the inputs in banks (of four). Shows you which banks
of inputs currently populate the control surface by illuminating the appropriate bank
LEDs. When using VCA/POP groups, an LED will flash if its bank contains a
channel(s) that are members of the selected group, but don’t currently populate the
control surface. This section also has an ALIGN button and a B button (master bay
only).

• mix section — scrolls the mix buses singly or in banks of eight. Shows you the
number and type (aux or matrix) of the currently select mix bus. The quick access
button assigns the currently selected mix bus to the channel strip.

• channel select (lower) and channel type sections — see Table 1 “Description of
the navigational controls” on page 22.

PRO6 Control Centre

Quick Reference Guide

How to navigate 25

How to navigate

This section shows you how to navigate the channels, mixes and groups, and how to
select the ones you want. Refer to Figure 7 “Location of the navigational controls on
the control surface” on page 26 throughout this section.

In many cases there are a number of navigational methods you can choose from to
carry out a particular task. Some may be more suitable than others in a given situation
and there may even be a combination of methods you an use. Experience should guide
you to the most appropriate and the ones you most prefer.

Switching between inputs and outputs

You can easily change from working with inputs to working with outputs, and vice
versa. To switch channel type, simply select any channel of the type you want to switch
to. The channel select (upper) section shows which type of channel is currently in
operation (and the channel number selected).

>> To change channel type

Do one of the following:

• Press a quick access button in a fast strip of the required channel type.

• To change to inputs from outputs, press an LCD select button in any input fast strip.

Navigating channels and mix buses to the control surface

There are a number of ways in which you can bring channels and mix buses to the
control surface, particularly using the scroll buttons.

>> To navigate a channel to the control surface

With the channel type you require currently in operation, do one of the following:

• Scroll to the channel using the scroll by 1 buttons in the channel select (upper)
section. This will also select the channel.

• If you are currently operating the inputs, scroll the bank containing the input
channel you require to the control surface using the scroll by 4 buttons in the input
select section.

• If you are currently operating the outputs, navigate the bank containing the output
channel you require to the control surface by pressing its output select button (in
either the top or bottom output fast strip sections).

>> To navigate an input channel to a fast strip on the control surface

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

>> To navigate a mix bus to the control surface

Do one of the following:

• Scroll to the mix bus using the scroll by 1 buttons in the mix section. This will also
select the mix bus.

• Scroll the bank containing the mix bus you require (aux or matrix) to the control
surface using the scroll by 8 buttons in the sends section.

PRO6 Control Centre
Quick Reference Guide

26 Chapter 6: Navigation

1

1

1

1

1

1
1
1

1

1

2

1

1

1

1

2

1

1

1

5

3

3

3

2

3

4

Key:

1 Quick access buttons
2 LCD select buttons
3 Scroll buttons
4 ALIGN button
5 Output select buttons
6 Right arrow button
7 FLIP button
A Input fast strip
B Channel strip
C channel select

(upper) section

D input select section
E channel select

(lower) section

F channel type section
G mix section
H VCA group strip
I Output fast strip
J population groups

(POP groups) section

K Master channel strips

Note: Items A to G are replicated on the far right side of
the control surface, although the master bay’s input
select section also has an area B button.

A

B

C

D

E

F

G

I

K

H

J

5

6

7

Figure 7: Location of the navigational controls on the control surface

PRO6 Control Centre

Quick Reference Guide

How to navigate 27

Selecting channels, mix buses and groups

There are a number of ways you can select a channel/mix bus from those currently
populating the control surface, particularly by using the quick access buttons.

>> To select an input channel

Do one of the following:

• Press its LCD select button.

• Press any of its quick access buttons. This will also assign the channel to the
channel strip and its processing area to the GUI channel strip.

• Scroll to the input channel using the scroll by 1 buttons in the channel select
(upper) section.

>> To select an output channel

Do one of the following:

• Press its quick access button. This will also assign the channel to the channel strip
(control surface and GUI).

• Scroll to the output channel using the scroll by 1 buttons in the channel select
(upper) section.

>> To select a mix bus
Scroll to the mix bus using the scroll by 1 buttons in the mix section.

>> To select a group

Press and hold down its LCD select button.

Navigating a processing area or mix bus to a channel strip

You may want a specific processing area assigned to a channel strip, for example, to
carry out processing or for copying to other channels. Or, you may want to carry out
detailed processing on the currently selected mix bus, but it may not necessarily be
assigned to its associated channel strip.

>> To navigate a processing area to a channel strip

Do one of the following:

• If its channel is already selected, press its quick access button in the channel strip.
This will also assign the channel to the channel strip (control surface and GUI).

• If its channel is at the control surface, but is not currently selected, press its quick
access button in the fast strip.

>> To navigate the selected mix bus to a channel strip

Press the quick access button in the mix section. This does not affect the current
population of the output fast zone.

PRO6 Control Centre
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28 Chapter 6: Navigation

Fault finding a problem channel

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

>> To navigate a channel using its number

1 In the channel type section, press the button corresponding to the channel’s

type. For example, if the channel is an input, press INPUT.

2 In the channel select (lower) section, type in the channel’s number. For

example, press 4 and then 7 for channel 47.

3 Press ENTER.

PRO6 Control Centre

Quick Reference Guide

Chapter 7: Patching

1

43

2

5

This chapter describes the patching feature of the PRO6.

Introduction

Patching is a GUI-only feature that allows you to carry out all the routing requirements
of the PRO6. The GUI main menu has a Patching option that takes you to the
Patching screen (shown below), which contains all of the available patching connectors
on the PRO6. This screen provides 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 allows you to set up the units (devices). For
example, you can adjust the analogue gain, select +48V phantom voltage etc., of the
line I/O units connected to the system.

29

Item Description

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

and device configuration (see “Function buttons” on page 30).

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

PRO6 Control Centre
Quick Reference Guide

3 From section, has tabs that contain all of the patch connector sources.
4 To section, has tabs that contain all of the patch connector destinations.
5 Section titles and tab names.

30 Chapter 7: Patching

>> To access the Patching screen

Do one of the following:

• At the GUI, choose home

• Press the patching/metering button in the primary 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.

Function buttons

The function panel buttons of the Patching screen are described in the following table.
When selected, a button’s background colour will change to a darker shade.

Legend Description

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

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

AUTO Lets you select a block of sources and patch them all

NONE Clears all currently selected patch connectors from all tabs in the

Patching.

destinations. See “Single patching (SINGLE)” on page 36.

their destinations. In this method, each source can only have one
destination. See “Sequence patching (SEQ.)” on page 36.

automatically, simply by selecting a single destination. Any
existing patches within the destination range will be replaced by
the new ones.

From and To sections. The green triangles will disappear
accordingly.

LIST Changes the tooltip type from standard to list, but is only available

when carrying out a sequence patching operating via the SEQ.
button.

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.

PRO6 Control Centre

Quick Reference Guide

About the patching procedure 31

Legend Description

CLEAR Clears all patching.

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 set up the I/O tabs in the Patching screen (see “The
AES50 Device Configuration window” on page 34).

STORE
PRESET

LOAD PRESET This is a user library (preset) function button (see

This is a user library (preset) function button (see
“User library (presets)” on page 57).

“User library (presets)” on page 57).

About the patching procedure

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

• Device configuration: Configure the devices by adjusting their parameters (see
below).

• Snake selection: Configure the PRO6 according to the type of ‘snake’ you are using
for the X and Y networks (see “Configuring the PRO6 with the snake type” on
page 33). This is important, as the PRO6 Control Centre will not work unless

the snake type is correctly configured.

• Setting up the I/O rack devices: Set up the system devices, such as line I/O,
DN9696 and generic AES50, to the I/O tabs in the From and To sections of the
Patching screen (see “Setting up the I/O rack devices” on page 33).

• Patching: Carry out all of the required routing, for example, mics to input channels
(see “How to patch” on page 35).

Configuring the devices

You have the option to configure the devices from the Patching screen. Parameters,
such as gain and +48V phantom voltage, can be adjusted or switched on/off,
respectively 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 area also allows control of audio parameters when the device
is used as a direct connection to another device, for example, FOH to stag e via a dig ital
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.

Device configuration procedure

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

• Opening the configuration window of the device.

PRO6 Control Centre
Quick Reference Guide

32 Chapter 7: Patching

• 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.

>> To open the configuration window of a device

Click the device’s spanner button.

>> To set up/change the configuration of an I/O device

1 Open the configuration window of the I/O device you want to configure (see

above).

2 Select the I/O device from the drop-down list at the

top of the configuration window.

3 Select the card/channel you want to

configure/change, from the
drop-down list at the upper-right
corner of the configuration window.
For example, the “Analogue In
Card”.

4 In a channel, configure the parameters. For example, in

channel “In1”, adjust the gain and switch the +48V phantom
voltage on (shown right).

5 Repeat step 4 for the other channels in the card.
6 Repeat step 3 to step 5 for the other cards.
7 If you want, you can configure other I/O devices by

repeating step 2 to step 6. Otherwise, click CLOSE (bottom
of configuration window) to save the configuration changes
and close the window.

PRO6 Control Centre

Quick Reference Guide

Configuring the PRO6 with the snake type 33

Configuring the PRO6 with the snake type

Important:
The snakes must be correctly configured before operating the PRO6. The
PRO6 will not pass audio or control data if the snakes are not configured
correctly.

You can connect the DL371 Audio System Engine to the PRO6 Control Centre with either
copper or fibre-optic snakes. The PRO6 needs to be configured with this information
before operation can begin. This is done via the GUI menu.

>> To configure the PRO6 with the snake type information

1 At the GUI, choose homePreferencesGeneral.
2 Under the Stage Link X heading, click the Fibre

or Copper option, according to whichever is
fitted to the X network. For example, click the
Fibre option (shown right). A selected option
will contain a red circle.

3 Do the same for the Y network, under the Stage

Link Y heading.

Setting up the I/O rack devices

You can add, remove and set up the devices, such as line I/Os, mic splitters, DN9696s
etc., that are connected to the Stage I/O and FOH I/O racks. This is done via the
AES50 Device Configuration window. Here, you can set up the device ID and also
the type of cards (modules) fitted to the physical unit. Figure 8 “The AES50 Device
Configuration window” shows a typical example of what the AES50 Device
Configuration window looks like with one of the DL351 devices selected. The options
are context-sensitive, so some may be blank, depending on the type of device.

The DL351 Modular I/O has four devices (A, B, C and D) per unit, and each one has its
own port. The four devices represent the following:

• DL351A - cards A, B and C.

• DL351B - cards D, E and F.

• DL351C - cards G and H.

• DL351D - redundant AES50 port.
To cater for the dual redundant ports of the DL431 Mic Splitter and DL451 Modular I/O

(X and Y connections) there are two options in the device type drop-down list,
MS Cable Red and Line Io Cable Red, respectively. Initially, the device is allocated
to a port (as for any device), then a second port is allocated to the redundant
connection, but with the same device ID. For details of how to set up these devices up,
see “To add a DL431 Mic Splitter or DL451 Modular I/O device” on page 34.

PRO6 Control Centre
Quick Reference Guide

34 Chapter 7: Patching

1

2

3

4

5

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), 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 CLOSE button, closes the AES50 Device Configuration window.

Figure 8: The AES50 Device Configuration window

>> To add a device or change its set up

1 Click CONFIG to open the AES50 Device Configuration window.
2 In the list of ports (far left in the AES50 Device Configuration window), click

the port you want to allocate the device to. For example, “FOH P ort 3 (unused)”.
The text in the device type: field will change accordingly. (A port that has no
device allocated to it will have the text “(unused)” after its name.)

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

“DL351A”.

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

example, “ID6”.

5 In the device options: drop-down list, click the type of card fitted physical unit.

For example, “Analogue 8 Input”. If there is more than one device options:
drop-down list, repeat for the remaining ones, making sure they match the actual
cards fitted.

6 Click CLOSE.

>> To add a DL431 Mic Splitter or DL451 Modular I/O device

1 Set up the device by following the procedure in “To add a device or change its set

up” on page 34, but select the Mic Splitter or Line IO option in the device type
drop-down list as necessary.

PRO6 Control Centre

Quick Reference Guide

How to patch 35

OR

2 Set up the device’s redundant connection by selecting another port (left of Select

the MS Cable Red or Line Io Cable Red option in the device type drop-down
list as necessary . Then, select the same device ID as the one you chose in step 1
from the device ID: drop-down list.

3 Click CLOSE to close the AES50 Device Configuration window.

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.

>> 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

Clicking Does this in the From section Does this in the To section

Selects patch the
connector.

Deselects the
patch connector ,
which then
reverts to its previous state
(patched or unpatched).

Selects the patch
connector and all the ones
it is patched to in the To
section. Shows which tabs
contain selected patch
connectors by putting a green
triangle under the title of each.

Will do one of the following
(provided a source patch
connector(s) has been selected
in the From section):

• Selects the patch
connector during a
single patching
operation.

• Patches the patch
connector during either
a sequence or an
automatic patching operation.

Otherwise, this has no effect.
Removes the patch.

Removes the patch.

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).

PRO6 Control Centre
Quick Reference Guide

36 Chapter 7: Patching

Single patching (SINGLE)

The SINGLE function button allows you to patch a single source to a single destination
or multiple destinations.

>> To patch a single source to a single destination

The following example shows you how to patch an output from a mic splitter to an input
channel.

1 Click SINGLE.
2 Select the source patch connector. For example, in

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

3 Select the destination patch connector. For

example, in the Inputs tab of the To section,
click the patch connector for input channel 14
(Mic14). It will now be patched to the source.
If the new patch is carrying a signal, this
audio may be heard, depending on the
settings of the PRO6 Control Centre.

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

>> To patch a single source to multiple destinations

1 Patch the source patch connector to one of its destinations, as detailed in “To

patch a single source to a single destination” on page 36.

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. All of the source patch connectors are selected in the From
section before being patched, one by one, in the To section. This saves you having to
go back to the From section for the start of each patch.

To assist you in sequence patching, you can change the tooltip to the list type (see the
LIST function button in “Function buttons” on page 30).

PRO6 Control Centre

Quick Reference Guide

Chapter 8: Basic Operation

Input gain/trim section

Input fast

strip

GAIN SWAP button

Channel

strip

Filters

section

GUI

input

fast

strip

GUI

channel

strip

Graph shows the
filter effects

Quick access

button

This chapter is intended to familiarise you with the PRO6 Control Centre by showing you
how to carry out some basic operations in order to get some audio out of it.

Note: As the operation of both input bays is principally the same, this chapter will
generally only show the operation of the 12-channel input bay. However, any
differences in operation between the 4-channel and 12-channel input bays will be
highlighted.

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

Setting a mic amplifier’s input gain

The PRO6 Control Centre has two input gains per channel, one is the remote gain for
the analogue mic pre (stage box gain) and the other is the digital trim (console gain).
In its default state, the stage box gain is in the channel strip and the console gain is in
each input fast strip. However, you can swap these sections over (by pressing the gain
swap button) to give you a more global control of the stage box gain.

37

Figure 9: Gain and filter sections of the input strips
Note: The gain trim and stage box control knobs on the control surface will adjust

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

PRO6 Control Centre
Quick Reference Guide

38 Chapter 8: Basic Operation

>> To set the stage box gain/console gain

1 In the gain trim section of an input fast strip, press the quick access button (see

Figure 9 “Gain and filter sections of the input strips” on page 37). This selects
the input channel and assigns its configuration processing area to GUI channel
strip, which contains the GAIN SWAP button.

2 Press the left-right arrow gain swap button

(or click GAIN SWAP) to swap the gain
trim and stage box sections over. The

diagram right shows the two types of gain
that can appear in the input gain/trim
section at the top of each input fast strip.

3 Adjust the gain trim control knob (5dB

steps from -2.5dB to +45dB) to the
required level to suit the Midas pre-amp
characteristic. A suitable level could be one that only just illuminates the yellow
LEDs. Do this for each required channel.

Drive the mic amps for that ‘Midas colouration’; feel free to overdrive if you want.

4 After you have achieved the required gain state, press the left-right arrow gain

swap button (or click GAIN SWAP) to swap the gains back to their default state.

5 Adjust the gain trim control knob to (this time) adjust the console digital trim

(+20dB to -40dB continuous trim) for your preferred gain structure.

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

Setting the high and low pass filters

Select high and low pass filters. The high and low pass filters can be switched be on/off
and, when on, each has two settings. The filters are replicated on the GUI, which also
shows the value of the filter in operation.

>> To set both high and low pass filters in

1 In the gain trim section of an input fast strip (see Figure 9 “Gain and filter

sections of the input strips” on page 37), press the quick access button. This
selects the input channel and assigns its configuration processing area to GUI
channel strip, 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 the filter frequency (Hz).

The ranges are 10Hz to 400Hz for the high pass filter and 2kHz to 40kHz for the
low pass filter.

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Quick Reference Guide

Input equalisation (E zone) 39

Graph shows the effects of EQ

Filter quick
access button

LEDs for EQ
filter selection
indication

E zone

Input fast
strip

GUI channel

strip

Light background shows that
this is the selected EQ filter

Input equalisation (E zone)

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

>> To EQ the input signal

1 In an input fast strip, press the quick access button of the desired EQ filter

(treble, hi-mid, lo-mid or bass). This will select the channel and open the EQ
filters processing area in the GUI’s channel strip. Alternatively, you can navigate
to it using the bass and treble up and down arrow buttons in the E-zone (shown
above).

On the GUI the selected EQ filter will have a light-coloured background. For
example, the bass is the selected EQ filter in the diagram above.

2 In the input fast strip, press EQ to switch the EQ in. The LED in the EQ button

will illuminate when its EQ is switched in.

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

desired.

4 Audition the different filters, including the ‘minimum

harmonic disruption’ types, by scrolling through them
using the SHAPE button.

Note: The minimum harmonic disruption filters are bright
and deep, which are available for treble and bass,
respectively. These filters use psychoacoustic phenomena to
generate steep slopes that sound natural.

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40 Chapter 8: Basic Operation

Compressor quick
access button

D zone

Input fast
strip

GUI channel strip

Gate quick access
button

Graphs show the effects of
compression/gating

Soft

Medium

Hard

Input dynamics processing (D zone)

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

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

>> To set up a compressor/limiter

1 In an input channel strip, press the compressor quick access button in the comp

section. This will select the channel and open the compressor processing area in
the GUI’s channel strip.

2 In the comp section, press ON to switch the compressor in.
3 In the D zone, operate the attack, ratio/range (r atio), release, threshold and

make up controls to apply processing. You could also set up a limiter by using a

high threshold and a steep ratio (greater than 5:1).
The hold control knob has no affect as it is only used for the gate.

4 Press KNEE to audition the

different algorithms (hard
knee, medium knee and soft
knee and shown right).

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Output processing 41

5 Press MODE to try different compressor types (corrective,

adaptive, creative and vintage). For example, Creative

shown right.

>> To set up a gate

1 In an input channel strip, press the gate quick access button in the gate section.

This will select the channel and open the gate processing area in the GUI’s
channel strip.

2 In the gate section, press ON to switch the gate in.
3 In the D zone, operate the attack, ratio/range (range), release, threshold

and hold controls to apply processing.
The make up control knob has no affect as it is only used for the compressor.

Output processing

Apart from the returns, which are similar to the input channel EQ, the outputs have a
six-band PEQ with shelving modes on bands 1, 2 and 6. They also have the option of
using a GEQ, which is accessed via the GEQ button in their EQ processing areas.

The outputs (except returns) have the same four compressor modes as the input
channels, but with the addition of a shimmer mode.

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42 Chapter 8: Basic Operation

VCA group LCD

select button

Input channel
LCD select
buttons

Using VCA/POP groups

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

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

VCA groups include fader, solo and mute control, whereas POP groups are limited to
unfolding channels (on area A or B).

>> To assign channels to a VCA/POP group

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

For example, “Kit” in the VCAs (as shown above). The group’s LCD select button
will start flashing when you are in group member selection mode and the inputs
will jump to program mode. Any existing input channel group members will be
unfolded to the control surface.

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

• To assign an input channel to the group, press the LCD select button of the
desired input channel. Repeat for any other input channels you want in the
group. For example, “Kik 1”, “Sn1”, “Hihat” and “Tom” (shown above). If
necessary scroll to a new bank of input channels. A bank LED (input select
section) will flash if it contains a channel that is a member of the current
group, and the bank is not at the control surface.

• T o assign an output channel to the group, press the quick access button of the
desired output channel. Repeat for any other output channels you w ant in the
group. If necessary navigate the desired output channels to the control
surface. The quick access buttons of any output channels that are at the
control surface and are group members will illuminate. Individual output
select buttons will flash if their bank contains a member of the current group.

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

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

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

To quickly see which channels are in a particular VCA group, press its SOLO
button on and off. Monitor this action on the Meters display (master bay GUI).
Only the SOLO buttons of channels that are group members will be affected.

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Using VCA/POP groups 43

Group name field

Control knob icon

Palette icon

Pencil icon

VCA groups

POP groups

Fill icon

Configuring VCA/POP groups

The default name and associated colour of a group, which appear on its LCD select
button and on the GUI, can be configured to suit your own preference. You can also
globally change the colour of the group members to match the group colour.
Configuration is carried out at the Group Sheet screen (see Figure 10).

Figure 10: VCA/POP group fields on the Group Sheet screen

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

>> To access the Group Sheet screen

Do one of the following:

• At the GUI, choose home

Control GroupsGroup Sheet.

• In the primary navigation zone, press the vca/assignable controls screen access
button.

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

Do one of the following:

• Choose from a list of pre-configured names by clicking the pencil icon of the
group. In the drop-down list, click the name of your choice, for example, “E Gtr”.
Scroll the list, if required.

• Type in a new name by clicking within the name field of the group. The pointer
will change to a white flashing “I”-shaped cursor, which will appear at the end of the
name field. Type in the new name via the keyboard (maximum six characters).

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

1 Click the palette icon of the group.
2 In the palette (shown right), click your chosen colour. For

PRO6 Control Centre
Quick Reference Guide

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

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

example, blue.

44 Chapter 8: Basic Operation

Ramp shows that
this signal is
post-fader

This transition point across the eight mix
buses, where solid colours change to
translucent, indicates 0dB

Bar shows that
this signal is
pre-fader

Illuminated aux
numbers and ramp/bar
shows that these auxes
are on

Setting up a mix

The PRO6 has 32 configurable mix buses (16 aux and 16 matrix), each of which can be
used as aux mixes, subgroups or mix minus. All the mixes can also be set up as stereo
pairs or mono. 16 matrix outputs can also be accessed directly from input channels via
level controls, which gives the PRO6 the ability to provide 32 discrete mixes, plus left,
right and mono. The mix sections (input fast strips) and the mix and sends sections
(mix and master bays) provide mix control and navigation, while the bus mode
selection is via GUI only.

Similarly to the inputs and groups, identification of mixes is by colour coding.
The overview displays in the GUI channel strip (see Figure 11) show the status of the

mixes, which are colour coordinated to match those in the sends section of the control
surface.

Figure 11: Sends sections of the mixes on the GUI (channel strip)

>> To select the mix bus mode

1 Select the mix bus (see “To select a mix bus” on page 27).
2 Press the quick access button

(adjacent to the filters section)
to assign the mix overview to
the channel strip. For example,
the aux send overview for
AuxS1.

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Setting up a mix 45

a

b

c

3 Click within one of the sections (for example, dir in) to open

the configuration processing area in the GUI channel strip.

4 Press MODE repeatedly to scroll through the mix modes

(mix, group and mix minus) to select the one you want.
Group mode is fader only with no pre-fader, and in mix
minus mode all buses are initially routed — you have to
switch a bus routing switch on to take it out of the mix.
Stereo mix mode — with mix selected and LINK button on
— is only accessed from the odd numbered output channel
of the linked pair. In stereo mix mode the top control knob
becomes pan adjust and the bottom one adjusts level.

When creating a stereo mix, you can use either the odd or
even output to link the two channels, but the mode of the
odd channel is used on both.

>> To set up a mono aux mix

1 Making sure that the mix bus is not linked, select mix (see “To

select the mix bus mode” on page 44).

2 Select the input channel (see “Selecting channels, mix buses

and groups” on page 27).

3 At the GUI, click within the appropriate sends section (aux or

matrices) in the overview display (see Figure 11 on page 44) to
open its processing area.

4 In the mix (upper) section, do the

following:

• Press PRE to select pre-fader
(on) or post-fader (off). Button
status is only available on the
GUI (see Figure 11 on page 44).

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

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

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46 Chapter 8: Basic Operation

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 7 “Patching”).

>> To route an aux or matrix to an effect or output

Do one of the following:

• In the processing area of the channel strip, click the required
mix bus destination from the drop-down list. For details of how
to open the processing area, refer to “To select the mix bus
mode” on page 44.

• In the processing area of the channel strip, click dest (shown
right). This will open the Patching screen and the appropriate
tab. For details of how to open the processing area, refer to
“To select the mix bus mode” on page 44.

•Open the Patching screen and route the aux/matrix from
there. For information on patching, see Chapter 7 "Patching"
on page 29.

Linking

You can link two mixes together. Pairs can only be created from adjacent mix buses of
the same colour. To link a pair of mix buses, click the LINK button of either of the mix
buses you want to link (odd or even). The LINK button can be found in the GUI
channel strip (refer to “To select the mix bus mode” on page 44).

The linked parameters default to the user-configurable global default link settings,
which are set via the GUI menu (choose home
you can override these default link settings for the pair via the Stereo Linking

Options window, which is opened by pressing the LINK OPT. button to the right of the
LINK button.

Using fader flip

For information on using fader flip, see “Controlling the mix buses in flip mode” on
page 14.

Note: When using fader flip to control the aux bus levels, always use the GUI to check
the level. This is because the fader level markings have a maximum of +10dB, whereas
the aux bus levels only go up to +6dB.

PreferencesLinking). However,

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Setting up the effects rack 47

Setting up the effects rack

You can set up the effects rack (in the GUI’s Effects screen)
to contain any of the available effects listed in the Change
Device Type window, in any of the eight rack positions.
This is a GUI-only function. The diagram right shows the
rack populated with the seven available effects.

The assignable controls panel (shown in the Delay
diagram below) is common to all effects, and allows you to
control effects parameters via the equivalent panel on the
control surface (master bay).

Delay — provides simple delay
line-based effects. Delay times can
be specified manually or you can use
the ‘tempo-tap’ button. It has a
three-mode delay algorithm: one
delay tap (mono or stereo
processing); dual - two delay lines
(stereo inset only); and ping-pong ­two delay lines with cross feedback.

DN780 — is a reverberation device
that emulates the Klark Teknik
DN780 Digital Reverberator/
Processor unit and allows you to
create unique acoustic environments
of virtually any type.

Flanger — has one or, if configured
as stereo, two tap delay lines. One
tap is fixed and the other tap
position is modulated to provide
‘thru-zero’ flanging or single tap
modulation when ‘thru-zero’ is off.

Phaser — has one, or if configured
for dual operation, two stereo
phasers connected in serial or
parallel, according to mode setting.

Pitch Shifter — has two
independent channels that can
independently shift the pitch of
signals up or down to correct poor
pitching or generate harmonies. The
pitch change can also be modulated
as an effect.

SQ1 Dynamics — is an emulation
of the Klark Teknik Square ONE
Dynamics, which is an 8-channel
analogue dynamics processor. Used
for the precise manipulation of
compression parameters, it also
includes gating for creative and
corrective applications, and channel
linking for stereo/multi-channel
operation.

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48 Chapter 8: Basic Operation

4

5

3 Band Compressor — is a
minimum phase shift (analogue
style) implementation that
guarantees coherent band summing,
even at the most extreme crossover
point settings. Each band provides
full control of its compressor’s
action, with partially adaptive time constants ensuring the most natural results from
even the most variable sources.

>> To add an effect to the effects rack

1 At the GUI, choose homeRack UnitsEffects. Alternatively, press the

effects/graphics screen access button in the primary navigation zone.

2 Click within your chosen rack position. This

will be the position of the new effect.

3 In the new effect’s window, click CHANGE

DEVICE TYPE.

4 In the Change Device Type window, click your chosen

device type. For example, “DN780”.

5 Click OK.

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Simple routing to master stereo outputs 49

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
window).

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 7 "Patching" on page 29.

Simple routing to master stereo outputs

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

>> To obtain audio

Do one of the following:

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

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

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50 Chapter 8: Basic Operation

Scene and show management (automation)

Automation allows you to manage show files and the scenes within the shows. This can
all be done via the Automation screen (a GUI menu option). Figure 12 (below) shows
typical Automation screen displays before (left) and after a show is loaded.

Figure 12: Typical Automation screen displays

>> To open the Automation screen

Do one of the following:

• At the GUI, choose homeAutomationAutomation.

• In the primary navigation zone, press the automation/filing screen access button.

Managing the shows

The four buttons (NEW, LOAD, SAVE and SAVE AS) towards the top of Automation
screen allow you to 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 15). The
PRO6 will indicate that there are show
settings to be saved by changing the
background colour of the SAVE button to
red.

>> To create a new show

1 Click NEW.
2 In the Enter new show name: window, type

your chosen name for the new show.

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Scene and show management (automation) 51

3 Click OK. You can now create

and manage the scenes for your
new show. (Clicking CANCEL
instead of OK will close the
Enter new show name:
window without creating a new
show.)

>> To save a show or create a new one from the current settings

Do one of the following:

• To update the current show with the latest settings, click SAVE.

• To create a new show using the current show
settings, click SAVE AS. Then, in the Save
File window, type in the name of the new show.
Click OK to save the new show and close the
window. (Clicking Cancel will close the window
without saving the new show.)

>> To load a show

1 Click LOAD.
2 In the Load File window, click the show file

you want to load (shown right). 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, load it from a USB
memory stick (see “To load (import) a show
file from a USB memory stick” on page 61).

3 Click OK to start loading the file and close

the window. The show file name will appear
in the show file name field (next to the
SAVE AS button) when it has finished
loading.

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52 Chapter 8: Basic Operation

Managing the scenes

An automation section in the master bay (see item H in Figure 2 “Main areas of the
control surface” on page 7) supports the Automation screen by providing a number of
controls for scene navigation and management. A jogwheel and a next LCD button are
unique automation controls, while the store, ok, cancel, last and now buttons are
replicated on the Automation screen.

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

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

The next LCD button displays information on the scene you have just scrolled to.
Additional function buttons on the Automation screen allow you to copy scenes and

also to choose what is stored within each scene (store and recall scope buttons).

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

>> To navigate the scenes using the jogwheel

Place a finger in the indent in the jogwheel and move it in a
clockwise or anti-clockwise direction, as required (shown right). The
scenes will be scrolled, one by one.

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

>> To recall a scene
Important:

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

Do one of the following:

• Press last to change scene selection to the one currently
highlighted in red in the cue list, which was the last selected
scene.

• Press now to change scene selection to the one currently
highlighted in yellow in the cue list.

• Press next (LCD button) to change scene selection to the one
currently highlighted in green in the cue list, which is the scene
immediately following the ‘now’ scene. However, if you have used
the jogwheel the affect will be different (see “To navigate the
scenes using the jogwheel” on page 52).

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Scene and show management (automation) 53

>> To create a new scene using the current settings

1 Click STORE SCENE.
2 In the Store Scene window (shown right),

type in the scene name, if required.

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

as required.

4 Do one of the following. The options are

context-sensitive, so some may be
greyed-out to show that they are
unavailable.

• Click “Insert before scene” to put the new
scene in between the one currently
highlighted in yellow and the scene
immediately before it.

• Click “Store to empty scene” to put the new scene in the one currently
highlighted in yellow, provided it is empty.

• Click “Store to next scene” to put the new scene in the next one, provided it is
empty.

• Click “Overwrite scene” to overwrite the scene currently highlighted in yellow.

An OK button will appear at the bottom of the window, to the left of the Cancel
button.

5 Click OK. This will store the scene, saving any changes you have made, and

close the window. (Clicking CANCEL will close the window, ignoring any
changes.)

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54 Chapter 8: Basic Operation

Additional control — managing events

You can use the MIDI or GPIO functions of the PRO6 to control the parameters of an
external device (outgoing), and conversely you can use an external device to control
the PRO6 (incoming). Also, by using the PRO6’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, and event
parameters are set up and edited in an Edit Event window. Similarly to scenes/point
scenes, you can skip events during rehearsals.

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

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Midi Event, AddInternal Event or

Add

GPIO Event as necessary.

>> To edit an event

1 Open the Edit Event window by doing one of the

following:

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

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

2 In the Edit Event window, choose your options

as necessary. For example, you can use a
program change to trigger the event.

3 At the upper-right corner of the Edit Event

window, click “X” to close it.

>> To copy and paste an event

1 Right-click the event you want to copy, and then

choose Copy from the menu.

2 Select the scene in which you want to paste the

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

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

Paste.

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Scene and show management (automation) 55

Show editor

The show editor is a GUI-only function
that allows you to very easily copy and
paste settings through scenes. This is
done via the Show Editor screen
(shown right).

The panel on the far left of the Show
Editor screen shows the sources
(channels, GEQs and effects) from
which you can copy the settings. The
Sections panel in the centre of the
screen contains source sections that
you can copy to the scene(s). At the far
right of the screen is the Scenelist
panel, which is a cue list of the current
show. For details of the parameters per
area, see Appendix P "Parameters Copied Through Scenes" on page 543.

>> To open the Show Editor screen

Do one of the following:

• From the GUI menu, choose home

• At the Automation screen, click SHOW EDITOR.

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

AutomationShow Editor.

1 In the Show Editor screen, click the sources that contain the sections you want

to copy to a scene(s). These are in the far left panel of the screen. You can
choose any combination of inputs, aux returns, aux sends, matrices, GEQs,
effects and masters.

2 In the Sections panel, click the boxes of the sections that you want to copy.

Ticked options will be copied.

3 In the Scenelist panel, click the scene(s) in which you want to paste the

sections. You can use the buttons at the bottom of the list to help you, as
follows:

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

• Click NONE to deselect all selected scenes.

4 Click PASTE TO SCENES.

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56 Chapter 8: Basic Operation

Configuring the inputs and outputs

Similarly to the VCA/POP groups, you can change the name and colour of each of the
inputs and outputs. This is done via the GUI at their respective sheet screens. For
configuration details, see “Configuring VCA/POP groups” on page 43.

>> To open the Input/Output Sheet screen

Do one of the following:

• At the GUI, choose homeInput ChannelsInput Sheet to open the
Input Sheet screen, or choose home
the Output Sheet screen.

• In the primary navigation zone, press the inputs/outputs screen access button to
open the Input Sheet screen. T o open the Output Sheet screen, press it again.

Mix & OutputsOutput Sheet to open

Using copy and paste

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

Right-clicking the copy or paste button will open their respective menu, each of which
contains full copy/paste options.

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

1 If necessary, navigate the channel’s processing area to the channel strip (see

“Navigating a processing area or mix bus to a channel strip” on page 27).

2 Click copy.
3 Do one of the following:

• To copy the processing area to another channel, select the channel and then
click paste. (As the copied parameters are still stored, you can paste to as
many channels as you want.)

• T o copy the processing area to all other channels, right-click paste to open its
menu and then choose Paste To All.

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

1 If necessary , select the channel from which you want to copy all of the processing

areas.

2 Right-click copy to open its menu, and then choose Copy All.
3 Do one of the following:

• To copy the parameters to another channel, select the channel and then click

paste.

• T o copy the processing area to all other channels, right-click paste to open its
menu and then choose Paste To All.

PRO6 Control Centre

Quick Reference Guide

User library (presets) 57

Copy and paste rules and restrictions

• You can only copy and paste similar functions. For example, you can’ t copy the•
input EQ from one channel to the output EQ of another, as they are different.

• You can only copy and paste across similar chan nel t ypes. F or example, y ou cannot
copy from an aux and paste to a matrix.

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

• Channel names are not copied.

• Compressor and gate side chain listen cannot be copied.

User library (presets)

The PRO6 has a user library where you can store
settings, such as for the EQ or the whole channel. For
example, you may wish to store the EQ settings of a
singer who may be called upon to perform during a
future show. You can then easily recall these EQ
settings to the appropriate channel, when required.

The settings are stored as presets, which are saved in a
library. The library files are managed via a Preset
Manager screen on the GUI. Here, you can create new
libraries, load existing libraries, save the current library
or give it a new name. You can also delete presets from the library.

Before you can save/load a preset, you need to create a new preset library or open an
existing one. To create a new one, open the Preset Manager screen (choose

Preset Manager) and click New. Then, after typing in the details in the

home
Enter new Library name window, click OK.

>> To save a preset to the user library

1 Make sure that the settings you want to save are assigned to the channel strip,

then click store preset. If the channel’s overview is displayed, all o f its settings
will be saved in the preset. Otherwise, just the settings of the displayed
processing area will be saved.

2 In the Save Preset window (shown right), type in

your chosen preset name (Preset Name), your
name (Preset Author) and any note (Notes) as
necessary.

3 Click OK.

>> To load a preset

1 Make sure that the channel in which you want to

load the settings of the preset is assigned to the
channel strip, then click load preset.

2 In the Load Preset window, click the preset that you want to load.
3 Click OK.

PRO6 Control Centre
Quick Reference Guide

58 Chapter 8: Basic Operation

LCR

Position
cursor

Speaker

Sound
image

RR

Listener’s position

RL

Surround panning

In addition to stereo and left-centre­right (LCR) panning, the PRO6 has
three surround panning modes:
quad; left, centre, right and
surround (LCRS); and 5.1 surround.

To help you visualise the surround
panning envelope, the masters
processing area of the GUI channel
strip has a spatial diagram (shown
right) that updates in real time when
you operate the panning controls.

The surround panning modes are
operated via a surround monitoring
system, which uses matrix channels
1 to 6 as the surround bus channels. The channels are muted via six MUTE buttons in
the master bay. PRO6 monitor output connections are via the surround, sub, centre
and front XLRs on the rear panel.

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

In surround mode, the SIS button routes the channel to the surround buses in much
the same way that the ST button routes to the master buses.

Figure 13 “5.1 surround panning arrangement” on page 59 shows the location of the
surround MUTE buttons and their matrix channel allocation, and (below) shows the

allocation of the surround MUTE buttons per loudspeaker and the recommended
surround system configuration.

>> To select the surround panning mode

1 At a GUI screen, choose homePreferencesGeneral to open the

Preferences screen.

2 In the Surround Mode section, select the surround option you want.

1. Reference - ITU-R BS.775.1, 1994. Multichannel stereophonic sound system with and without
accompanying picture. International Telecommunications Union.

1

5.1

PRO6 Control Centre

Quick Reference Guide

Surround panning 59

Subwoofer

Front left

Centre

Front right

Rear right

(right surround)

Rear left

(left surround)

30°30°

110° ±10°

110° ±10°

Listening
distance

Loudspeaker

Matrix channels

12 3 4 56

Figure 13: 5.1 surround panning arrangement

PRO6 Control Centre
Quick Reference Guide

60 Chapter 8: Basic Operation

Area A

Area B

Two-man operation

The PRO6 Control Centre can be operated by two people simultaneously. In this mode
of operation the 4-channel input bay is designated as area B, and operates
independently of the 12-channel input bay, which is always area A. (You can have the
same channel selected simultaneously in both bays.)

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

The following diagram shows the areas designated as A and B during two-man
operation and also shows the location of the area B button. All other parts of the
control surface are common to both areas.

Figure 14: Two-man operation

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

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

>> To set up the PRO6 Control Centre for two-man operation
In the input select section of the master bay, press B (see Figure 14 above).

PRO6 Control Centre

Quick Reference Guide

Saving your show files to a USB memory stick 61

USB memory

stick

Saving your show files to a USB memory stick

When you are satisfied that your show file is how you want it, we recommend that you
save it to a removable storage device (USB memory stick). This provides a valuable
back up should the show file stored in the internal memory of the PRO6 be lost, for
example, due to inadvertent deletion.

You can also load show files onto the PRO6 from the same storage device.

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

1 Close and save the show file you want to export if necessary. You can’t export a

show file that is open.

2 Insert the USB memory stick

into the active USB socket,
which is the one with the
flashing active LED. For
example, USB key 2 (shown
right).

3 Do one of the following:

• At the GUI, choose

home

Files.

• In the primary navigation
zone, press the
automation/filing screen
access button twice in
quick succession.

4 You ma y see an “ Analysing...” message

in the Removable Storage panel,
which means that the Midas folder on
the USB memory stick is being read.
Wait for the message to clear. Then, in
the Control Surface panel, click the
show file you want to copy (shown
right).

5 Click EXPORT.

6 In the Are You Sure you Want To

Export? message window, click OK. The file will

start copying to the USB memory stick.

7 When your show file appears in the Removable

Storage panel, it has finished copying to the

USB memory stick. Remove the USB memory
stick.

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

The procedure is similar to the export procedure, as detailed in “To save (export) a
show file to a USB memory stick” on page 61, but select the file to be imported to the
PRO6 from the Removable Storage panel and then click IMPORT.

PRO6 Control Centre
Quick Reference Guide

62 Chapter 8: Basic Operation

External AES50 synchronisation

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

Console 2 sync setting

External
Console 1
sync setting

Master Not valid Not valid Not valid Valid

Word clock Not valid Not valid Not valid Valid

AES3 Not valid Not valid Not valid Valid

External
AES50 from
console 2

Master Word clock AES3

Valid
connection

Valid
connection

Valid
connection

AES50 from

console 1

connection

connection

connection

Not valid

A valid connection can be a tie line between the stage routers or the secondary port
(Bx/By) of a mic splitter that has its primary port (Ax/Ay) connected to the master
console.

Security (locking mode)

If you need to leave the PRO6 unattended, but you want to preserve its current state of
operation, you can lock it via the GUI menu. This will prevent unauthorised adjustment
of its settings. When locked the GUI displays the ‘splash’ screens (shown during the
start up sequence) and none of the controls on the control surface will function; the
PRO6 Control Centre will be totally locked out.

The PRO6 Control Centre is unlocked by clicking the UNLOCK button, which is in the
lower-left corner of both GUI screens. For security, this button has been designed to
blend in with the background so as to be almost indistinguishable. When unlocked, the
PRO6 Control Centre will revert back to the state it was in the last time it was locked.

>> To lock the PRO6 control centre
At the GUI, choose home

>> To unlock the PRO6 control centre
At the GUI, click UNLOCK.

Lock.

PRO6 Control Centre

Quick Reference Guide

Volume 1:Connecting And

Setting Up The

System

PRO6 Control Centre
Quick Reference Guide

Chapter 9: Setting Up The System

This chapter shows you how to set up a PRO6 Live Audio System to its default
configuration.

Note: If you want to set up the PRO6 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” on
page 65.

• Making up a rack — see “Making up a rack” on page 65.

• Connecting up the equipment — see “Wiring instructions” on page 65.

• Powering the equipment — see “Powering the PRO6 system” on page 67.

• Initial patching — see “Setting up the I/O rack devices” on page 33. It is

important to set up the type of snakes connected in the system.

• Configuring the DL351 unit — see “Setting up the DL351 Modular I/O unit ID” on
page 69.

65

Unpacking the equipment

After carefully unpacking the equipment, check it against the packing list shown in
“System components (standard supply)” on page 4“System components (standard
supply)” on page 4.

Save all packing materials, as they will prove useful should it become necessary 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.

Making up a rack

In the standard supply, the rack supplied with the PRO6 Live Audio System is fully fitted
with the DL351 Modular I/O and DL371 Audio System Engine units.

Wiring instructions

Connect the snake (Cat 5e or fibre optic) to the DL371 Audio System Engine unit and
PRO6 Control Centre (see Figure 15 “Standard system configuration” on page 66).

The DL351 Modular I/O and DL371 Audio System Engine units should already be
connected together when you receive them.

PRO6 Control Centre
Quick Reference Guide

66 Chapter 9: Setting Up The System

DL371 Audio

System Engine

(4 x AES50

expansion ports)

Rack (the DL351 and

DL371 units are

typically located in a

single 14U rack)

Maximum 100 m,
typically 0.5 m
(N+1 redundant
AES50)

Dual cable redundant HyperMAC
(fibre optic or copper)

PRO6 Control Centre

(control surface, router, 8 x inputs,

8 x outputs, 8 x insert Jack I/O pairs

and 6 x monitor outputs)

DL351 Modular I/O

(56 x inputs and

8 x outputs)

Copper

Fibre optic

Mix position
Stage

3 x AES50 expansion

ports

Figure 15: Standard system configuration

Important:
The PRO6 Control Centre, DL351 Modular I/O and DL371 Audio System Engine
all have Volex locking type plugs fitted on their supplied mains cables, which
plug into their mains IEC connectors. When fitted properly the Volex plug
locks into place, preventing it working loose, or being inadvertently knocked
loose or pulled out. For details of how to fit/remove a Volex p lug, see “Power”
on page xi.

PRO6 Control Centre

Quick Reference Guide

Powering the PRO6 system 67

Powering the PRO6 system

The following details the recommended power up and power down procedures for the
PRO6 system.

Note: If you are in any doubt as to how to switch the DL3n1 units on/off, refer to their
operator manuals.

>> To power up the PRO6 system
Important Note:

DO NOT switch on the speaker sub-system until after the start-up of the PRO6
system has been completed.

After all PRO6 system interconnections have been made (refer to Figure 15 “Standard
system configuration” on page 66), start up the PRO6 system:

1 Make sure that all of the PRO6 system equipment is switched off, such as the

PRO6 Control Centre, speaker sub-system, DL351 Modular I/O unit and DL371
Audio System Engine unit.

2 Switch on the PRO6 Control Centre (see “To switch on the PRO6 Control Centre”

on page 68).

3 In the master bay of the PRO6 Control Centre, move all of the monitor and

master channel faders to the minimum position and mute all of the master
channels (see section F in Figure 2 “Main areas of the control surface” on
page 7).

4 Power up the PRO6 components, such as the DL351 Modular I/O unit and the

DL371 Audio System Engine unit. This can be done in any order you like.

5 After the status indicator at the top of each GUI screen has

changed to green (as shown right), switch on the speaker
sub-system.

6 Switch on the audio source and start playing the audio.
7 On the PRO6 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 is no sound at all coming from the speakers when the faders are at maximum,
move the faders to below the 0dB level and check if the audio is muted somewhere
along the input paths and also check that the individual speakers are switched on. If
there is still no sound from the speakers, see “No audio” on page 73.

>> To power down the PRO6 system
Important Note:

BEFORE switching off any of the PRO6 system components, don’t forget 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 DL351 Modular I/O unit.
3 Switch off the DL371 Audio System Engine unit.
4 Switch off the PRO6 Control Centre (see “To switch off the PRO6 Control Centre”

PRO6 Control Centre
Quick Reference Guide

on page 68).

68 Chapter 9: Setting Up The System

Mains

plug

Mains
outlet

Rear of PRO6 Control Centre

1

2

3

Mains power on/off

LED indicator

Switching the PRO6 Control Centre on/off

Carry out the following to switch the PRO6 Control Centre on or off in a safe manner,
observing all WARNINGS and Cautions.

>> To switch on the PRO6 Control Centre

Caution (1)!
A minimum of two power supply modules must be supplying power
to the PRO6 Control Centre for correct operation.

Caution (2)!
Before switching on, check that all monitor loudspeaker power
amplifiers are turned off or muted.

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

1 Plug the three mains cables into the mains power outlets.
2 Observing Caution (1)! above, plug the Volex connectors (see “Wiring

instructions” on page 10) of the mains cables into the mains sockets on the rear
of the control centre. (The green LED next to each mains socket will illuminate if
its mains supply is on.)

3 Observing Caution (2)! above, apply power to the PRO6 Control Centre by

switching the D.C. POWER switch on. The PRO6 Control Centre will boot up and,
when the default GUI screens are displayed, it is ready for use.

>> To switch off the PRO6 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 61).

2 At the GUI, choose homePreferencesShutdown System.
3 At the Shutdown ENTIRE system? prompt, click OK.
4 After the shutdown sequence has finished, switch off the D.C. POWER switch

(rear of control centre).

5 Disconnect the mains cables from the rear of the PRO6.

PRO6 Control Centre

Quick Reference Guide

Setting up the DL351 Modular I/O unit ID 69

Setting up the DL351 Modular I/O unit ID

After connecting up your PRO6 network system, you may need to set up the ID of the
DL351 Modular I/O unit, which is done via its control panel (see Figure 16 below). You
only need to do this if the unit is not already configured to the ID you want; there are
four ID numbers available (1 to 4) and the default is ID 1. The unit’s ID number is
shown at the end of the bottom line in the default display, for example, the ID of the
unit shown in Figure 16 is “1”.

To change the ID number there is no need to switch on the PRO6 Control Centre, as the
procedure can be carried out offline.

Refer to the operator manual for the DL351 Modular I/O if you require more details.

Figure 16: Control panel of the DL351 Modular I/O (showing default display)

>> To set up the ID of the DL351 Modular I/O unit

1 Make sure the DL351 Modular I/O unit is switched on.
2 Press MENU and hold for approximately two

seconds to enter the main menu. You have
entered the main menu when the first option is
displayed.

3 Press the down arrow button to go to the set

ID option.

4 Press SELECT to go to the “Select ID” screen.

5 Press the down arrow button to go to the ID 2

option.

6 Press SELECT to choose the ID 2 option.

7 Press MENU to exit menu mode.

PRO6 Control Centre
Quick Reference Guide

70 Chapter 9: Setting Up The System

PRO6 Control Centre

Quick Reference Guide

Volume 2:Appendices

PRO6 Control Centre
Quick Reference Guide

Appendix A: Troubleshooting

This chapter gives a brief troubleshooting guide to the PRO6 Control Centre.

No audio

If you have set up the PRO6 and followed all of the instructions for obtaining audio, but
you are not hearing anything through the speakers, check the following:

• Make sure the appropriate ST buttons in the input fast strips are on (see “Masters
sections and pan control” on page 281).

• Make sure the appropriate ST buttons in the source a/b panels (monitors section of
the master bay) are on (see “source (a and b) sections” on page 202).

• Make sure nothing is muted.

• Make sure no faders are set to minimum.

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

• Use solo at selected points in the signal path to try and pinpoint where the signal is
being lost.

• Check for correct signal routing by making sure channel sources/destinations are
correctly assigned.

73

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

Diagnostics

You can view the Diagnostics screen to get an overview of the current health and
status of the system. The Diagnostics screen shows real-time connectivity of the
system, the health of connected nodes and whether a device is configured or not. The
Diagnostics screen also includes a SWAP HYPERMAC button for changing the current
network from X to Y, and vice versa. For more information, see the XL8 Control Centre
Owner’s Manual.

The status LED at the top of the screen, which is constantly displayed while the PRO6 is
switched on, is linked to the status of individual items on the Diagnostics screen. You
can click on it to see what is causing the error.

PRO6 Control Centre
Quick Reference Guide

74 Appendix A: Troubleshooting

12

3

4

About the Diagnostics screen

Item Element Description

1 REDEOPLOY DSP

ROLES button

2 CONFIG button Opens the AES50 Device Configuration window

3 Column titles The columns house the following: Unconfigured

4 SWAP

HYPERMAC

button

Copies all files to all DSPs. This is usually done after
a software upgrade.

(see Figure 8 “The AES50 Device Configuration
window” on page 34)

contains any units that have not been configured
during the patching procedure; Configured contains
configured units; Link shows the router/unit
connection; Stage Router/FOH Router contains the
appropriate router and any associated rack units; and
HyperMac shows the router/router connections.

Swaps the active network from X to Y and the reverse
(see “Swapping the active network” on page 75).

PRO6 Control Centre

Quick Reference Guide

Swapping the active network 75

What the colours mean

The colour of each device, together with its link (if applicable), indicates its current
status, as follows:

State Description Unit status

Both the unit and
link are green

Unit is green and
the link is red

Unit is red and the
link is green

Both the unit and
link are red

There is also an amber condition, which means that the item(s) is in error, but is not
contributing to the audio.

Viewing the status of the master controllers is particularly important, especially when
you wish to swap the active master controller (see “Swapping the active master
controller” on page 76), as it shows you which master controller is currently controlling
the network.

Good Good Good

Good Bad Not known

Malfunction Good Not known

Not known Bad Bad

Connection of
active link

Connection of
inactive link

Swapping the active network

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

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

>> To check the health of the active network

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

>> To swap the networks

1 At the GUI, open the Diagnostics screen by choosing homeDiagnostics.
2 Click SWAP HYPERMAC.

Diagnostics, and then

PRO6 Control Centre
Quick Reference Guide

76 Appendix A: Troubleshooting

3 In the prompt window (shown

right), click OK. The active
and standby networks will
swap over.

Swapping the active master controller

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

>> To swap the active master controller

1 At the GUI, choose homeFiles.
2 Click FILE SYNC.
3 In the Master Controller File Synchronisation window, click the MAKE

ACTIVE button of the standby MC (shown below). This will become the active

one.

PRO6 Control Centre

Quick Reference Guide

Thank you for reading through this Quick Reference

Guide. We hope you found it useful.

Please feel free to send us your comments.

Our contact details and website address can be found

at the front of this guide.

Midas Klark Teknik Limited
Klark Industrial Park, Walter Nash Road,
Kidderminster. Worcestershire. DY11 7HJ. England.
Tel: [phone], Fax: [phone]
Email: [e-mail]
Website: www.midasconsoles.com

© 2010 Red Chip Company Ltd.