PRO2 Live Audio System Owner’s Manual MUSIC Group Research UK Limited, Klark Industrial Park, Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England. Tel: +44 1562 741515 Fax: +44 1562 745371 Email: mkt.info@music-group.com Website: www.midasconsoles.com PRO2 Live Audio System — Owner’s Manual DOC02-DL2 Issue A — October 2011 © MUSIC Group IP Limited © 2011 MUSIC Group IP Ltd. Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed.
Owner’s Manual EN Important safety instructions Important safety instructions CAUTION RISK OF ELECTRIC SHOCK! DO NOT OPEN! ATTENTION RISQUE DE CHOC ELECTRIQUE! NE PAS OUVRIR! Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with ¼" TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel.
iv PRO2 Live Audio System § 3 Return materials authorization 1. To obtain warranty service, please contact the retailer from whom the equipment was purchased. Should your MUSIC Group dealer not be located in your vicinity, you may contact the MUSIC Group distributor for your country listed at www.midasconsoles.com. If your country is not listed please contact the “United Kingdom (Midas/ KT main office)” located under “Service Service/Repairs” on the www.midasconsoles.com website.
Licences The following are the license agreements applicable to the Midas Digital Equipment. End-User Licence Agreement for Midas™ and Klark Teknik™ Software IMPORTANT - Please read this document carefully before using this Midas™ or Klark Teknik™ Product. This is an agreement governing your use of software or other machine instructions already installed on this Midas™ or Klark Teknik™ Product, as well as other software that we provide for installation on this Product.
DATE INFORMATION. You understand that the Company may update or revise the Software but in so doing incurs no obligation to furnish such updates to you. However, the Company may in its discretion make updates available from time to time upon such terms and conditions as it shall determine.
and the Courts of England and Wales will have exclusive jurisdiction to hear and decide any dispute concerning it or its formation. No breach by you of any provision of this Licence shall be waived or discharged except with the express written consent of the Company and no failure or delay by the Company to exercise any of its rights under this Licence shall operate as a waiver thereof and no single or partial exercise of any such right shall prevent any other or further exercise of that or any other right.
ix Contents Cover page ........................................... i Licences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix Overview Chapter 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 PRO2 host software version . . . . . . . . . .
x Making up a rack . . . . . . . . . . . . . . . . . . . . . . . Connecting up . . . . . . . . . . . . . . . . . . . . . . . . Powering the PRO2 system . . . . . . . . . . . . . . . . Switching the PRO2 Control Centre on/off . . . . . .... .... .... .... .. .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 .28 .30 .31 Basic Operation Of The PRO2 Chapter 5 Before You Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Principles of operation . . .
xi Surround panning . . . . . . . . . . . . . . . . . . . . Area B operation . . . . . . . . . . . . . . . . . . . . Saving your show files to a USB memory stick External AES50 synchronisation . . . . . . . . . . Security (locking mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 . 90 . 91 . 92 .
xii SQ1 Dynamics effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 3-Band Compressor effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139 Dynamic EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140 Chapter 17 Control Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 VCA and POPulation groups . . . MCA groups . . . . . . . . . . . . . . Auto-mute (mute) groups . . . .
xiii Chapter 22 Events (Automation) . . . . . . . . . . . . . . . . . . . . . . . . 185 About events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 About the Edit Event window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Programming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Chapter 23 Crossfades (Automation) . . . . . . . . . . . . . . . . . . . . . 191 About the crossfade Edit Event window . . .
xiv Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219 Masters to matrix tap-off-point . . . . . . . . . . . . . . . . . . . . . . . . . . . .220 Typical configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221 Description Chapter 29 Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Rear panel connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227 Control surface . . . . . . . . .
xv Appendix B Functional Block Diagrams. . . . . . . . . . . . . . . . . . . . 295 Mono input channel signal flow Returns signal flow . . . . . . . . Aux/group signal flow . . . . . . Master signal flow . . . . . . . . . Mono mix signal . . . . . . . . . . Monitor signal flow . . . . . . . . Comms signal flow . . . . . . . . Dynamics signal flow . . . . . . Appendix C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xvi Auxes (Aux Sends) . . Returns (Aux Returns) Matrices . . . . . . . . . . Masters . . . . . . . . . . Groups . . . . . . . . . . . Appendix I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overview Volume 1: PRO2 Live Audio System Owner’s Manual
1 Chapter 1: Introduction Welcome to the PRO2 Live Audio System. The PRO2 Live Audio System is a very powerful and flexible audio processing system that provides a complete solution for any audio mixing and signal distribution application in a live sound environment.
2 Chapter 1: Introduction Conventions The following lists the conventions used in this manual. • Hand symbols, such as, (for pushbutton, trackball, glide pad etc.) and (for control knob), are used to show the operation of the physical controls on the control surface. GUI operation is indicated by a pointer, which represents a ‘click’ ‘drag’ or operation. • The graphics shown right are used to differentiate between diagrams of the control surface (immediate right) and GUI (far right).
PRO2 host software version 3 PRO2 host software version This manual is for an PRO2 Control Centre running host software version 1.15 and later. Service and support The PRO2 is a very hi-tech piece of equipment. We provide superb levels of support and service to give users confidence in Midas digital products.
4 Chapter 1: Introduction PRO2 Live Audio System Owner’s Manual
5 Chapter 2: PRO2 Live Audio System The PRO2 is a mid-size mixing console and comes complete with a stage IO box and flight case. The console is designed to work for long periods, not just indoors but under harsh sunlight or near freezing conditions. The console forms the core of the PRO2 Live Audio System, whose network carries both proprietary control data and open architecture AES50 digital audio, and uses readily available standard cabling and connectors.
6 Chapter 2: PRO2 Live Audio System • Eight VCA (Variable Control Association) groups • Six POPulation groups • 192 MCA (Mix Control Association) groups • Automation providing up to 1,000 scenes with snapshot save/recall capability and global edit, presets and show file archiving • Comprehensive, easy-to-use routing via a GUI Patching screen • 96kHz 40-bit floating-point processing throughout • 100m bi-directional Cat-5e AES50 digital snake included (48 in x 16 out) • Stage I/O: DL251 48 in
7 System components (standard supply) System components (standard supply) The PRO2 Live Audio System can be supplied in either a touring package or install package. In both packages the following is supplied as standard. • PRO2 Control Centre: PRO2 (16-channel) or PRO2C (8-channel). PRO2 PRO2C • DL251 Audio System I/O (1-off): 6U 19” rack unit that provides 48 mic/line inputs and 16 outputs. • Snakes and main cables etc.
8 Chapter 2: PRO2 Live Audio System System configurations This section shows the basic interconnectivity of a PRO2 Live Audio System and the possible system configurations.
System configurations 9 PRO2 system expanded by adding DL431 input splitters and DL451 modular I/O boxes Dual PRO2C FOH and MON system using a DL251 split network PRO2 Live Audio System Owner’s Manual
10 Chapter 2: PRO2 Live Audio System Dual PRO2C FOH and MON system using XL8 DL431 input splitters PRO2C and XL8 sidecar network with up to 576 inputs and up to 224 simultaneous channels. The PRO2C control centre and engine are connected to the XL8 network as an extender. The channel count depends upon the number of I/Os and their configuration.
11 Signal flow Signal flow The control surface contains the DSP engine, which provides the following time-aligned channels and buses: • 56 input channels • 8 aux input channels optionally time-aligned as effects returns or additional input channels • 16 aux output channels • 3 master channels • 8 matrix channels • 2 solo buses, routable from all locations providing dual monitor formats (in ear/wedge) • 2 master buses, routable from the 56 inputs and 8 aux inputs, and 16 aux buses • 8 matrix
12 Chapter 2: PRO2 Live Audio System Mix matrix Ultimately, the mix matrix defines the PRO2 Live Audio System’s capability. Probably the best way to imagine the mix matrix is to think of an analogue console layout, where inputs run vertically and buses run horizontally. A mix matrix is usually defined as the number of buses and the quantity of simultaneously-mixable inputs there are per bus. The following diagram illustrates the capability within the control centre.
13 Processing • Routing to mono master bus. • Panpot (SIS™). • Direct output. Each of the 16 auxiliary inputs has: • Input gain. • Source from internal FX or external pool input. • Fader. • Panpot (SIS™). • Routing via level controls to the eight matrix buses. • Routing via pan control to the left, right and mono master buses. Mix channel processing Each of the 16 auxiliary mix buses has: • Subgroup, auxiliary or mix minus modes. • Dual mono or stereo pair modes. • Six-band PEQ.
14 Chapter 2: PRO2 Live Audio System Effects processing and GEQs The PRO2 contains eight mono Klark Teknik (KT) GEQs and eight effects processors as standard. The effects processors (six maximum) can be freely chosen from the following: • Stereo delay. • Stereo flanger. • Stereo phaser. • Stereo harmoniser. • Stereo reverb (KT DN780). • Stereo Dynamic EQ. • GEQ (each effect slot can be sacrificed to gain an additional four GEQ effects). • Eight channels of SQ1 Dynamics.
Resilience to failure (redundancy) 15 Resilience to failure (redundancy) The PRO2 Control Centre has dual redundant power supplies, so if one fails the other can carry on working. The N+1 principle is used for the audio, where the AES50 cables include a redundant spare. The GUI screen can be used to operate the control centre, even if no control surface hardware is working.
16 Chapter 2: PRO2 Live Audio System PRO2 Live Audio System Owner’s Manual
17 Chapter 3: About The PRO2 Control Centre This chapter introduces you to the PRO2 Control Centre and provides a brief hardware description. Overview of the PRO2 Control Centre The PRO2 Control Centre comprises a combined control surface and graphical user interface (GUI) that provides an array of easy-to-use controls for the precise manipulation of audio.
18 Chapter 3: About The PRO2 Control Centre PRO2 control surface During show time the functions that require fast access are controlled by control knobs (rotary encoders), pushbutton switches, faders etc. More complex functions that do not require this fast access are controlled via the GUI screen using the trackball and left and right navigational keys.
19 PRO2 control surface Item Description G Input fast zone Contains the operator’s ‘must have now’ controls in eight input fast strips. Provides faders, meters, mutes, solos and navigation (LCD) switches for detailed and complex manipulation of multiple channels within the console. Typically, this would be input channels but aux returns and output can also be accessed.
20 Chapter 3: About The PRO2 Control Centre Connections The PRO2 has a rear connector panel that caters for the connection of mains power leads, AES50 I/O unit(s), USB devices, keyboards, headphones, talk mics, communications, external monitor, AES3 synchronisation, diagnostics (for service personnel only), lamp and word clocks (75R). The control surface houses a USB connector for uploading/downloading show files and updating the system software, and a connector for a talk mic.
External interfaces 21 • USB: Two USB ports are provided on the rear panel of the PRO2. In addition, there is a USB port on the control surface (storage section) for removable storage via a USB memory stick. • DVI ports for external monitor: The control centre has a screen output DVI connector on the rear panel of the PRO2 for connecting an external monitor. This lets you view remotely what is shown on a GUI screen.
22 Chapter 3: About The PRO2 Control Centre PRO2 Live Audio System Owner’s Manual
Volume 1: Getting Started PRO2 Live Audio System Owner’s Manual
25 Chapter 4: Setting Up The System Before installing, setting up or operating this equipment, make sure that you have read and fully understand all of this section and the “IMPORTANT SAFETY INSTRUCTIONS” at the front of this manual. This chapter shows you how to set up an PRO2 Live Audio System to its default configuration. Note: If you want to set up the PRO2 Live Audio System using a configuration other than the default, please contact Midas Technical Support for details.
26 Chapter 4: Setting Up The System • 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. Handling the equipment Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it.
Making up a rack 27 Special accessories To comply with part 15 of the FCC Rules, any special accessories (that is, items that cannot be readily obtained from multiple retail outlets) supplied with this equipment must be used with this equipment; do not use any alternatives as they may not fulfil the RF requirement. Making up a rack If you are making up a rack, there are careful considerations to be addressed beforehand, which are outlined in this section.
28 Chapter 4: Setting Up The System Connecting up Connect your system according to your requirements. For examples of system configuration, see “System configurations” on page 8. To ensure the correct and reliable operation of your equipment, only high quality, balanced, screened, twisted pair audio cable should be used.
29 Connecting up Other connections The section gives details of the other PRO2 Control Centre interconnections.
30 Chapter 4: Setting Up The System Powering the PRO2 system The internal power supplies are of the switch mode type that automatically sense the incoming mains voltage and will work where the nominal voltage is in the range 100VAC to 240VAC. 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.
Switching the PRO2 Control Centre on/off 31 Switching the PRO2 Control Centre on/off Carry out the following to switch the PRO2 Control Centre on/off in a safe manner. >> To switch on the PRO2 Control Centre Before switching the PRO2 on, make sure that all monitor loudspeaker power amplifiers are turned off or muted.
32 Chapter 4: Setting Up The System PRO2 Live Audio System Owner’s Manual
Basic Operation Of The PRO2 Volume 2: PRO2 Live Audio System Owner’s Manual
35 Chapter 5: Before You Start This chapter provides useful background information on PRO2 operation. While this system is a complex, high-tech piece of equipment, we have made it as easy to use and as user-friendly as possible. Principles of operation PRO2 Control Centre operation is based on the concept of colours and groups rather than ‘layering’ or ‘paging’, which is the case with most digital consoles on the market today.
36 Chapter 5: Before You Start Saving a show versus storing a scene It is important to understand the differences between saving a show and storing a scene. • Storing a scene saves the current settings of the system to the show file. Scene data is never updated to the show file unless you manually store a scene. The show file remains unsaved in RAM after storing a scene. Although the state of the control centre is copied every five seconds, it is not stored in a scene.
37 Chapter 6: Working With The PRO2 Control Centre This chapter is intended to familiarise you with the controls (control surface and GUI) of the PRO2 Control Centre. Although many controls on the PRO2 Control Centre are similar to their equivalent analogue-type counterparts, some have been specifically designed for the PRO2, particularly those for navigation and GUI operation.
38 Chapter 6: Working With The PRO2 Control Centre Type Description Example(s) LED Status indication. Meter All of the input, output and monitor peak level meters on the control surface are shown simultaneously on the GUI’s Console Overview screen. Additional peak level meters are included in the direct input and direct output sections of the input bay and mix bay channel strips, respectively.
39 GUI screen layout Status bar The Status bar, which is always displayed at the top of the GUI screen, contains a number of elements as shown in the following diagram. 1 2 3 4 5 6 7 8 Item Description 1 home button, opens the GUI menu (see “GUI menu flowchart” on page 284). 2 Screen navigation buttons (see “To find a GUI screen that you recently opened” on page 46). 3 Name of current screen.
40 Chapter 6: Working With The PRO2 Control Centre Parameter values displayed on touch You can configure the PRO2 (see “Setting the user interface preferences” on page 209) so that the GUI displays the current value (and dimension) of the control being adjusted. If you adjust an aux via the mixes section of an input fast strip, the current value will be shown in the aux’s panel of the GUI input fast strip.
41 Operating the GUI screen controls >> To scroll a drop-down list With the drop-down list displayed, do one of the following: • A — Drag the scroll box. • B — Click the scroll bar. The scroll box will ‘jump’ in the direction of the click to another position in the scroll bar. • C — Click an up/down scroll arrow. The scroll box will ‘jump’ in the direction of the scroll arrow to another scroll bar position.
42 Chapter 6: Working With The PRO2 Control Centre • To cancel your changes, click CANCEL. • Click “(X)” at the upper-right corner of the window. >> To move a window Use drag, by clicking on the window’s blue bar (top) and dragging the window where you want it. Graphs Some graphs, such as the crossfade and surround spatial diagram (shown right), can be edited on the GUI using drag.
43 Chapter 7: Navigation This chapter introduces you to PRO2 navigation and shows you how to use the navigational tools of the PRO2 Control Centre to navigate its channels, groups and buses. For information on other types of PRO2 navigation, refer to the following: • To navigate the scenes in automation, see “Managing the scenes” on page 84. • To open the GUI’s Patching screen, see “Navigating to the Patching screen” on page 16.
44 Chapter 7: Navigation • Assigning input channels to the channel fader section • Assigning output channels to the channel fader section • Navigating the detail area assignments to the channel faders • Assigning the mix bay as an additional fader bay • Assigning VCA groups to the mix bay • Assigning outputs to the mix bay For more information, see the PRO2 Live Audio System Quick Start Guide.
Advanced channel navigation 45 names and channel members as the VCAs. For information on programming MCAs and VCAs, see “Configuring VCA/POPulation groups” on page 75. Collapsed flip With collapsed flip enabled, switching flip on only recalls to control surface aux sends that are contributing to the selected mix output. Fader bay scrolling changes to banks of four. This affects solo, such that any AFL solo is derived post- the aux send contribution level (and its pan if applicable).
46 Chapter 7: Navigation About GUI navigation While the control surface provides instant, one-button access to many controls, the GUI provides an alternative way of navigating the PRO2 and offers some unique methods of its own. The GUI menu gives you access to all of the screens that you will need and you can even navigate backwards/forwards through the screens that you have recently opened.
47 Chapter 8: Patching This chapter describes the patching function of the PRO2. Introduction The patching function is fundamental to PRO2 operation as, until the I/Os have been correctly patched, you won’t get any audio. Patching is done entirely at the Patching screen, which is an option in the GUI menu.
48 Chapter 8: Patching 1 7 6 2 5 3 4 Figure 2: A typical Patching screen display Item Description 1 Function button panel, contains the function buttons that enable patching and device configuration (see “Patching screen function buttons” on page 49). 2 Patching area, contains all of the patch connectors on tabs. 3 From section, contains a number of tabs that house all of the patch connector sources (see “About the tabs in the From and To sections” on page 50).
About the Patching screen 49 Patching screen function buttons The function panel buttons of the Patching screen are described in the following table. When a button is selected, its background colour changes to a lighter shade. Legend Description SINGLE Lets you patch a single source to a single destination or multiple destinations. See “Single patching (SINGLE)” on page 66. SEQ. Lets you select multiple sources and then patch them one by one to their destinations.
50 Chapter 8: Patching What the Patching screen symbols mean The following table gives a description of all the symbols that appear on the Patching screen tabs. Symbol Description During patching, this triangle appears under a tab name when its tab sheet contains a selected patch connector. Shown at the top of the channel patch connectors, this box aids channel identification by showing the channel’s user-configured colour. Insert return patch connector. Insert send patch connector.
About the Patching screen Busses tab — From The Busses tab allows routing from the auxes, matrices and master outputs. This tab can also be accessed directly via the dest button in the mixes section of the input channels and in the direct input section of the output channels (see “Direct input controls” on page 304). Dir. Out (Direct Out) tab — From The Dir. Out (Direct Out) tab allows you to patch any of the 96 input channels internally.
52 Chapter 8: Patching Ins. Sends (Insert Sends) tab — From The Ins. Sends (Insert Sends) tab allows any of the input and output channels to be routed, primarily to an effects device. Effects tab — From The Effects tab allows patching from any of the effects.
53 About the Patching screen Mon. (Monitor) tab — From The Mon. (Monitor) tab allows routing of the monitor outs and external talk destination. This tab can also be accessed via the dest buttons on the Monitors screen. Mon.
54 Chapter 8: Patching Dir. In (Direct Input) tab — To The Dir. In (Direct Input) tab allows you to patch, for example, effects to the outputs. This tab is also accessed from the src button in the configuration section of the output channels (see “Direct input controls” on page 304). Ins. Ret. (Insert Return) tab — To The Ins. Ret. (Insert Return) tab allows insert returns to be patched to any of the inputs and outputs.
55 About the Patching screen Sidechains tab — To The Sidechains tab allows patching to the compressor and gate of the input and output sidechains. Effects tab — To See “Effects tab — From” on page 52. Mon. (Monitor) tab — To The Mon. (Monitor) tab allows routing to the communications and monitors. This tab can opened using the src buttons on the Monitors screen. Mon.
56 Chapter 8: Patching Mon. tab input Equivalent on the Monitors screen AFL Direct Input Source L afl direct input left AFL Direct Input Source R afl direct input right Navigating to the Patching screen You can access the Patching screen from various other screens in the GUI menu, usually by clicking a source (source) or dest. (destination) button. When you click one of these buttons, not only will the Patching screen open, but the appropriate tab in the From/To section will be open as well.
57 About the Patching screen Device type Description Mic Splitter DL431 Mic Splitter. Line IO DL451 Modular I/O. Generic AES50 Audio-only device that is used to represent the inputs and outputs of any third party AES50 device. DN9696 Klark Teknik DN9696 Recorder. Use up to four of these devices (with IDs 1 to 4) to represent the four AES50 ports for up to 96 channels of recording/playback. For more information, go to our website www.klarkteknik.com.
58 Chapter 8: Patching Common device features The device images have certain common features in their layout, as highlighted in the following diagram, which shows one of the I/O devices. 1 2 3 4 6 5 Item Description 1 Unit type. 2 Unit ID number. 3 Unit name and PRO2-assigned unit number. 4 ‘Spanner’ button, opens the device configuration window (see “Configuring the devices” on page 60). 5 XLR patch connector, which is male or female, depending on section location.
59 Patching tooltips Patching tooltips Patching uses two types of tooltip — standard and list — to convey useful patching information about the patch connectors. A tooltip is a transitory object, in the form of a text box, that only appears while the GUI’s pointer is in the proximity of a patch connector. Standard tooltip The standard tooltip is the default type that appears during all patching operations. The following diagram shows, typically, the type of information provided by a standard tooltip.
60 Chapter 8: Patching >> To select the list tooltip Press LIST. (Pressing LIST again will change the tooltip back to the standard type.) About the patching procedure Although patching can be thought of as routing/rerouting the console’s incoming, internal and outgoing signals, in the context of the Patching screen, patching also encompasses the setting up and configuration of the devices.
61 Configuring the devices About the configuration window The configuration window, which has a similar format for each device, comprises eight channel panels and drop-down lists for channel range/card selection. A typical Line I/O configuration window is used in the following diagram to show the elements that are common to each device. 2 3 1 5 4 Item Description 1 Device ID field, contains the device type and number. 2 Device drop-down list, for device selection.
62 Chapter 8: Patching 3 In a channel, configure its parameters. For example, in channel “In1” adjust the gain and switch on the +48V phantom voltage (shown right). Repeat for the other channels in the card as necessary. 4 Repeat step 2 and step 3 for the other cards as necessary. 5 If necessary repeat step 1 to step 4 for any other devices of the same type. 6 Click OK. Setting up the I/O rack device(s) You can add, remove and set up the devices, such as line I/Os, mic splitters, DN9696s etc.
Setting up the I/O rack device(s) 63 Device set-up procedure The device set-up procedure comprises: • Selecting the port (Stage or FOH) you wish to allocate the device to. • Selecting the device type. • Selecting an ID for the device. • Selecting the options (if any) for the device. >> To add a device or change its set up 1 Click CONFIG. 2 In the AES50 Device Configuration window, click the port you want to allocate the device to; these are listed in the far left of the window.
64 Chapter 8: Patching How to patch Patching, basically, involves selecting the source patching connectors in the From section of the Patching screen and then selecting their destination(s) in the To section. You can select patches singly, or in multiples by using the sequence and automatic operations. About the patch connectors Each patch connector has three possible states, as indicated by its fill colour.
65 How to patch Click To do this in the From section Deselect the patch connector, which then To do this in the To section Remove the patch ( ). Remove the patch ( ). reverts to its previous state (patched or unpatched ). Select the patch connector ( ) and all the ones it is patched to in the To section. (A green triangle under a tab title shows that its tab contains one or more selected patch connectors.) To quickly check the destinations of a source patch connector, click it.
66 Chapter 8: Patching Single patching (SINGLE) The SINGLE function button allows you to patch a single source to a single destination or multiple destinations. >> To patch a single source to a single destination The following example shows you how to patch an output from a mic splitter to an input channel. 1 Click SINGLE. 2 In the From section, click the source patch connector. For example, choose the first patch connector of a mic splitter.
67 How to patch • The selected destination forms the start of the automatically patched range of destinations. • Sources and destinations are automatically patched in ascending order, the lowest numbered source and the selected destination forming the first patch. • Sources will only be patched up to the highest numbered destination of the current destination type. If there are any sources left over, automatic patching pauses. You can then patch these by selecting another destination.
68 Chapter 8: Patching PRO2 Live Audio System Owner’s Manual
69 Chapter 9: Basic Operation This chapter is intended to familiarise you with the PRO2 Control Centre by showing you how to carry out some basic operations in order to get some audio out of it. Setting a mic amplifier’s input gain The PRO2 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).
70 Chapter 9: Basic Operation 3 Adjust the gain trim control knob to set the stage box input gain. Range is shown on the GUI. Adjust level to suit the Midas pre-amp characteristic; a suitable level could be one that only just illuminates the yellow LEDs. Drive the mic amps for that ‘Midas colouration’ — feel free to overdrive if you want. 4 After you have achieved the required gain state, press the SWAP button again to swap back to console digital trim.
71 Input equalisation (E zone) Input equalisation (E zone) Use EQ to equalise the input signal via the treble, hi-mid, lo-mid and bass filters, which are in the input channel strip’s E zone. Treble and bass each have a parametric filter option with three specific shelving modes. Visual feedback for EQ is via GUI screen only, which also has a graphical representation of the filter.
72 Chapter 9: Basic Operation Input dynamics processing (D zone) This section deals with assigning compressor and gate dynamics processors using the controls in the input channel strip’s D zone. There are four compressors available — corrective, adaptive, creative and vintage — each with the option of hard knee, medium knee and soft knee (see Appendix A "Application Notes" on page 289).
Output processing 6 73 Press MODE to try the different compressor types (Corrective, Adaptive, Creative and Vintage). For example, Creative (shown right). >> To set up a gate 1 Select the desired input channel. 2 In the channel strip, press the quick access button in the gate section (see Figure 5 “Compressor and gate channel strips” on page 72) to select the input channel’s compressor detail area. 3 Press ON in the gate section to switch the gate in.
74 Chapter 9: Basic Operation Using VCA/POPulation groups VCA and POPulation groups allow simultaneous adjustment of a number of channels. Being instantly recognisable, they provide a quick method of bringing particular channels to the control surface and save you having to remember their name/number. You can choose channel group associations and also configure the colour and legend of each group’s LCD select button, which is used for group member assignment and recall.
75 Using VCA/POPulation groups Configuring VCA/POPulation groups The default name and associated colour of a group, which appear on its LCD select button and on the GUI, can be configured to suit your own preference. You can also globally change the colour of the group members to match the group colour. Configuration is done via the Group Sheet screen (shown below).
76 Chapter 9: Basic Operation Setting up a mix The PRO2 has 24 configurable mix buses, each of which can be aux mixes, subgroups or mix minus. The aux mixes can also be set up as stereo pairs (restricted to likecoloured buses) or mono. To keep the control surface manageable, access to these mixes is confined to the mix section in the channel detail area, which can be scrolled up and down on a ‘virtual’ surface.
Setting up a mix 77 >> To select the mix bus mode 1 In the mix bay, select the desired aux channel. 2 In the channel strip, press the quick access button to select the aux’s configuration detail area. 3 In the GUI channel strip, click MODE repeatedly to cycle through the mix modes (mix, group and mix minus) to choose the one you want. The currently selected mix mode is shown to the right of the MODE button. group mode is fader only with no pre-fader.
78 Chapter 9: Basic Operation Linking two mixes You can link two mixes together, which is a GUI only feature. Pairs can only be created from adjacent mix buses of the same colour, for example, you can link auxes 3 and 4 together, but not 2 and 3. >> To route an aux or matrix to an effect or output To link a pair of mix buses, click the LINK button in the channel strip of either mix bus. For example, click LINK of aux 15 to link it to aux 16 (shown right).
Setting up the effects rack Setting up the effects rack You can set up the effects rack (in the GUI menu’s Effects screen) to contain any of the eight available effects listed in the Change Device Type window, in any of the 16 rack positions. The diagram right shows the rack populated with all available effects. The assignable controls (shown in the Delay diagram) are common to all effects, and let you control effects parameters via the I zone (output bay’s control surface).
80 Chapter 9: Basic Operation 3 Band Compressor (stereo multi-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.
81 Simple routing to master stereo outputs 6 Change the parameters of the new effect device as necessary. For example, adjust control knobs, press buttons etc. You can even change the effect’s name by editing its name field (upper-left corner of effect). You can do this via the GUI or from the I zone using the output bay GUI (see “PRO2 control surface” on page 18). 7 Click OK to exit. The new effect will appear in the effects rack.
82 Chapter 9: Basic Operation Automation PRO2 automation is managed from the Automation screen of the GUI menu, with support from the automation section of the control surface (output bay). The Automation screen (a typical example is shown right) has the following functions and features: • Show management — see “Managing the shows” on page 82. • Scene management — see “Managing the scenes” on page 84. • Event management — see “Additional control — managing events” on page 85.
83 Automation 2 At the Enter new show name: message window, type your chosen name for the new show. 3 Click OK. You can now create and manage the scenes for your new show. >> To save a show or create a new one from the current settings Do one of the following: • To update the current show with the latest settings, click SAVE. • To create a new show using the current show settings, click SAVE AS.
84 Chapter 9: Basic Operation Managing the scenes Up to three scenes in the cue list will be highlighted to indicate your position in the show, as follows: • LAST (red) — the scene immediately before the most recently loaded one. • NOW (yellow) — the most recently loaded scene. • NEXT (green) — the next available ‘non-empty’ scene.
85 Automation • 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. The options are context-sensitive, so some may be greyed-out to show that they are unavailable. An OK button will appear at the bottom of the window when a valid store scene option has been selected.
86 Chapter 9: Basic Operation Show editor The show editor is a GUI-only function that allows you to very easily copy and paste settings through scenes. This is done via the Show Editor screen. The Scenelist on the right of the screen is a cue list of the current show. Source lists (channels, GEQs, effects and groups) are to the left of the screen, from which you can copy the settings, and in the middle (Sections) are the areas you can copy.
Using copy and paste 87 Using copy and paste The copy and paste buttons (upper-right corner of GUI) let you copy the parameters of a channel’s detail area (EQ, compressor, gate etc.) or all of its details areas, and paste them to another channel/all channels of a similar type. Both buttons have a rightclick menu. >> To copy a detail area to a channel/all channels 1 Navigate the detail area to its local channel strip. 2 Click copy.
88 Chapter 9: Basic Operation User library (presets) The PRO2 has a user library where you can store settings, such as for the EQ or even the whole channel. For example, you may wish to store the EQ settings of a singer who may be called upon to perform during a future show. You can then easily recall these EQ settings to the appropriate channel when required. The settings are stored as presets, which are saved in a library. The library files are managed via a Preset Manager screen in the GUI menu.
89 Surround panning Surround panning In addition to stereo and left-centreright (LCR) panning, PRO2 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 detail area of the GUI channel strip has a spatial diagram (shown right) that updates when you operate the panning controls. L C R Position cursor Sound image Speaker The 5.
90 Chapter 9: Basic Operation 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. Surround panning mode is selected via the Surround Mode options of the Preferences screen (choose home Preferences General).
Saving your show files to a USB memory stick 91 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 PRO2 be lost, for example, due to inadvertent deletion. You can also load show files onto the PRO2 from the same storage device.
92 Chapter 9: Basic Operation >> To load (import) a show file from a USB memory stick The procedure is similar to the export procedure, as detailed in “To save (export) a show file to a USB memory stick” above, but select the file to be imported to the PRO2 from the Removable Storage panel and then click IMPORT.
Advanced Operation And Features Volume 3: PRO2 Live Audio System Owner’s Manual
95 Chapter 10: Stereo Linking This chapter describes stereo linking, or channel pairing, which lets you configure two adjacent channels as stereo. The diagram right gives an example of two linked channels (auxes 15 and 16). By default, all channels of the PRO2 are unpaired (mono). When paired, the controls for each signal path act simultaneously on both the left and right signal paths.
96 Chapter 10: Stereo Linking Changing the linking options You can choose which control options will be linked across the channel pair. There are two ways to do this: globally and per pair. The per pair settings always override the global ones. For details of the linked parameters for each section, see Appendix J "Parameters Affected By Stereo Linking" on page 461.
97 Chapter 11: Panning The PRO2 has two main types of panning mode, default and surround. The default mode comprises stereo and LCR panning formats, and only uses the channels for the front loudspeakers, while the surround mode includes channels for the rear surround loudspeakers. For more information, see “Surround panning” on page 89. The following table shows the panning formats available on the PRO2. Table 3: Panning formats Panning mode No.
98 Chapter 11: Panning SIS™ (LCR) mode The MIDAS SIS™, which is used for left-centre-right (LCR) loudspeaker systems, configures the channel for LCR mixing. The SIS switch activates the spatial imaging system, which uses the SIS image control knob to modify pan control knob operation so as to place the channel within a three-speaker system. With SIS image control knob set fully clockwise or anti-clockwise, image is full LCR or stereo, respectively.
99 SIS™ (LCR) mode SIS image control knob fully anti-clockwise (stereo) With the SIS image control knob fully anti-clockwise, the pan control knob operates as stereo. A centrepanned signal routes to the left and right speakers at equal power. Centre Right Left = = SIS image control knob centred (equal power) With both the SIS image and pan control knobs centred, the signal is routed to all three speakers with equal power.
100 Chapter 11: Panning Surround panning When the PRO2 is configured to operate in one of the surround panning modes, the spatial diagram that appears in the GUI channel strip gives you a visual representation of the sound image in relation to the speakers. The following diagram shows the appearance of the GUI channel strip for each panning mode, and describes the controls. None Quad LCRS 5.
101 Speaker placement Speaker placement As the placement of loudspeakers is very important for accurate mix monitoring — especially for multi-channel mixing for surround sound — you should consider speaker positioning, angling and level calibration when setting up your monitor system. If necessary consult the manufacturer of your monitor system for their recommended surround formats.
102 Chapter 11: Panning PRO2 Live Audio System Owner’s Manual
103 Chapter 12: Soloing Solo enables a signal to be monitored at a level proportional to its level in the mix, in the same stereo position in the mix and with the same signal processing as in the mix. When a solo button is pressed, all signals routed to the monitor output — except the one selected by the solo button — will be cut. Solo allows a sound in one channel to be isolated, which is helpful in fault finding and when equalising a signal.
104 Chapter 12: Soloing Table 4: Solo A destination controls Control Options Description PFL direct input - Direct inject to solo A from linked console, active only while solo A is PFL. AFL direct input - Direct inject to solo A from linked console, active only while solo A is AFL. Solo add • On (additive solos) • Off (self-cancelling solos) Disable self-cancelling solo A solos.
Solo hierarchy 105 Solo hierarchy The solo system add-mode hierarchy works as follows: • The highest level of solos will be the inputs and returns. When active, these will override and inhibit the remaining solo sources, namely auxes, matrices and masters.
106 Chapter 12: Soloing PRO2 Live Audio System Owner’s Manual
107 Chapter 13: Muting Muting is useful for turning off channels you don’t want to listen to. The channel mutes turn off outputs from the channel. See Appendix B “Functional Block Diagrams” for which outputs are affected when channel mute is active. Channel mutes can be activated by: • Local press. • Auto-mutes (see “Auto-mute (mute) groups” on page 147). • VCAs (see “VCA and POPulation groups” on page 143). • Scene recall (see Chapter 20 "Scenes And Shows (Automation)" on page 161).
108 Chapter 13: Muting PRO2 Live Audio System Owner’s Manual
109 Chapter 14: Monitors And Communications This chapter describes the monitoring and communications functions of the PRO2. Monitors (A and B) To match the two-bus solo system there are two monitor outputs, A and B, which control their respective output levels. These are controlled from the monitor section on the master bay (see Figure 9 “Monitor A and B strips” on page 110). Each monitor output has: • The ability to monitor mono and stereo outputs, and an external input. • An external talkback input.
110 Chapter 14: Monitors And Communications 9 10 1 2 12 13 4 5 6 8 3 12 13 11 5 4 6 7 8 Figure 9: Monitor A and B strips Item Description 1 Monitor a strip on the GUI. 2 Monitor b strip on the GUI. 3 monitor a/b strip on the control surface. For controlling current monitor assignment (A or B). 4 This MUTE button mutes the right monitor signal. On the control surface, it mutes the right monitor signal of the current monitor assignment (A or B).
111 Monitors (A and B) Item Description 11 left and right meters for the monitor (A or B) currently assigned to the monitor section on the control surface. 12 Left monitor signal. On the control surface, it is the left monitor signal of the current monitor assignment (A or B). 13 Right monitor signal. On the control surface, it is the right monitor signal of the current monitor assignment (A or B).
112 Chapter 14: Monitors And Communications Solo system solo a and solo b system sections allow solo signals to be selected independently for each monitor system (A and B). These can be selected as AFL (PFL extinguished), PFL (PFL illuminated), additive (ADD enabled) or interlock cancelling. The monitor outputs can be configured for normal or broadcast use and both modes change the interleaving logic between differing areas of the monitor output.
113 Solo system >> To activate SIP 1 Do one of the following: 2 • On the control surface, lift up the cover of the solo in place button and then press the button. • At the GUI, choose home Monitors. Then click solo in place. In the “Activate SIP ?” message window, click OK. >> To deactivate SIP Press/click the solo in place button (control surface or GUI).
114 Chapter 14: Monitors And Communications LFT button RGT button Off On Right monitor signal is routed to both of the monitor speaker outputs. On On Left and right monitor signal routing is swapped over, that is, left monitor signal is routed to the right monitor speaker output, and the right one is routed to the left monitor speaker output. Monitor signal routing source (a and b) sections The source a and source b sections contain monitor input selector switches.
Solo system 115 solo mode section On the GUI, the solo mode section has a select button by which you can select one of the following options. The LEDs to the left of the options illuminate to show which option is in operation. • normal — both solo systems (A and B), are active and behave as a single solo system. • broadcast — routes stereo masters to the monitor A output and activates all the solo B controls so that soloed material is routed to the monitor B outputs.
116 Chapter 14: Monitors And Communications Signal generator The signal generator section can output to pink noise (pink noise generator) or sine wave tone (sinusoidal oscillator), and connect to the internal and external talk buses. 1 2 6 5 4 3 6 Signal generator controls on the control surface and GUI Item Element Description 1 freq control knob Gives continuous adjustment of the sinusoidal oscillator frequency from 50Hz to 5kHz.
117 Talk osc/routing Talk osc/routing The talk / osc routing, or ‘internal talk groups’ section, sends signal generator and talk mic signals to buses within the control centre. It contains four talk group switches used for selecting the destination of the talk and OSC internal signals. The GUI has an additional four configuration switches for programming.
118 Chapter 14: Monitors And Communications Talk mic The control surface has an internal talk mic that lets you talk to external locations, and you can also be talked to from an external location. For the input and output talk connections, see “talk section” on page 268. Internal talk mic This is located in the talk mic section, and contains the controls for both the internal talk mic and external talkback functions, which control a talkback microphone connected to the DL251/DL252 Audio System I/O.
119 Talk mic Item Element Description 4 limiter control knob Gives continuous adjustment of the peak limiter value from 0dB to +20dB. 5 mic gain control knob Provides continuous mic amplifier gain adjustment of the mic connected to mix bay control surface. Range is +15dB to +60dB and operates in conjunction with the peak limiter. 6 Talk patching sections. See Table 25 “Navigating to the Patching screen” on page 418.
120 Chapter 14: Monitors And Communications PRO2 Live Audio System Owner’s Manual
121 Chapter 15: Graphic Equaliser (GEQ) This chapter describes the internal GEQs of the PRO Series. Initially, it explains how to use the PRO2 Control Centre to configure and operate the GEQs and then details all of their available control functions. Overview of the GEQs The PRO2 Control Centre incorporates a graphic equaliser (GEQ), which is closely based on the Klark Teknik DN370 Graphic Equaliser (see Appendix C “Klark Teknik DN370 GEQ” for details).
122 Chapter 15: Graphic Equaliser (GEQ) A B C Graphic EQs screen (configured for 28 GEQs) A. GEQ rack overview B. GEQ virtual rack C. GEQ patching source >> To open the Graphic EQs screen Do one of the following: • At the GUI, choose home Rack Units Graphic EQs. • In the navigation zone, press the effects/graphics access button twice. >> To open a GEQ rack Do one of the following: • In the Graphic EQs screen, click on the desired unit. • Press ENTER in the assignable controls section.
123 About the GEQ window About the GEQ window In the centre of the GUI screen, the GEQ window shows the selected GEQ’s front panel. This gives you full control of the GEQ via the GUI controls in the navigation zone by using the trackball and left and right buttons. Below the GEQ is an assignable controls panel that lets you select and control the GEQ faders (singly or in groups) and the controls on the right.
124 Chapter 15: Graphic Equaliser (GEQ) >> To patch a source to a GEQ 1 Open the window of the GEQ. 2 Open the GEQ source drop-down list. (An unpatched GEQ will have “None” displayed in the text field.) 3 In the drop-down list, click the source you want. For example, “Aux Send 3”. The new patching assignment will appear in the source name field (as shown right) and in the border on the left of GEQ panel. 4 Click CLOSE to accept the change and close the GEQ’s window.
Configuring the number of GEQs (and effects) 125 Item Control Function 5 EQ button Selects the EQ. The adjacent green IN LED shows the EQ is on (illuminated) or is being bypassed (extinguished). 6 10-segment meter Shows the incoming signal level and is pre-EQ (but post-gain control).
126 Chapter 15: Graphic Equaliser (GEQ) Typical example of how the Graphic EQs and Effects will look screens when PRO2 is configured with the 1 Effect - 28 GEQs option. Copying settings between GEQs You can copy and paste all the settings of one GEQ to another. >> To copy the settings of one GEQ to another GEQ 1 In the GEQ rack of the Graphic EQs screen, open the window of the GEQ that you want to copy the settings from. 2 In the GEQ window, click COPY.
127 Chapter 16: Internal Effects This chapter describes the internal effects of the PRO2. Initially, it explains how to use the PRO2 Control Centre to operate the effects and then details all of their available control functions and their use. Overview of the internal effects The Effects screen manages up to six user-assignable effects devices, which are a ‘bundle’ of onboard creative audio effects that provide onboard facilities where outboard effects units would have traditionally been required.
128 Chapter 16: Internal Effects Rack unit number allocation Each unit position in the rack is allocated a rack number that is recognised by the PRO Series Live Audio System (shown right). 1 2 3 4 5 6 About the effect window Similarly to the GEQ window on the GUI, the effect window shows a screen-width version of the selected effect, which gives you full control of the effect via the trackball and left and right buttons in the navigation zone.
129 Working with the effects Item Element Description 6 Effect panel For details of the front panel for each effect, refer to the effect sections later on in this chapter. 7 Effect name For naming the effect. >> To open an effect window In the Effects screen, click on a non-control area of the effect you want. Working with the effects There are a number of ways of handling the effects, such as setting up, configuration and operation, all of which involve the use of the GUI.
130 Chapter 16: Internal Effects Delay effect The delay effect provides simple delay line based effects. Delay times can be specified manually or by means of a ‘tempo-tap’ button. Three-mode delay algorithm: • Single — one delay tap (mono or stereo processing). • Dual — two delay lines (stereo insert only). • Ping-pong — two delay lines with cross feedback.
131 Delay effect Item Control Function 13 Model select button Selects digital or analogue delay model. Current selection is shown by the illumination of one of the LEDs above (Dig. or Anlg.). 14 ON switch Switches the delay effect on/off. 15 Gain control knob Adjusts the amount of gain between -20 and +20, with 0 at top dead centre. 16 Mix control knob Adjusts the mix between dry (0%) wet (100%). 17 HF Depth control knob Adjusts depth of HF damping modulation.
132 Chapter 16: Internal Effects Virtual DN780 Reverb effect The Virtual DN780 Reverb provides emulation of the vintage Klark Teknik DN780 Digital Reverberator/Processor unit. The DN780 is not just a reverberation device, it also gives the user a unique and flexible means of producing realistic acoustic simulations for environments of all types and sizes. The provision of effects programs further extends this versatility, making it a very powerful acoustic processing package.
133 Virtual DN780 Reverb effect Item Control Function 9 MIX control knob Controls the DRY/WET output mix and ranges from 0% to 100%, respectively. 10 ST stereo input button Enhances original algorithm to provide stereo input. 11 Parameter display panel Shows the current settings for the selected algorithm. 12 IN button Switches in the Virtual DN780 Reverb effect. 13 LEVEL control knob AUDIO section control for adjusting the input level.
134 Chapter 16: Internal Effects Flanger effect The flanger effect consists of one or, if configured as stereo, two dual-tap delay lines. One tap is fixed and the other tap position is modulated to provide ‘thru-zero’ flanging or single tap modulation when ‘thru-zero’ is off. 1 2 3 14 15 18 17 16 6 13 12 4 11 5 7 10 9 8 Front panel of the flanger effect Item Control Function 1 Delay control knob Adjust length of modulated delay line in milliseconds.
135 Phaser effect Item Control Function 14 Depth control knob LFO Sweep section control for adjusting the intensity of the effect by setting the depth of modulation as a percentage. Interactive with Delay, as for Chorus. Range is 0% to 100%. 15 Thru Zero switch LFO Sweep section control for selecting ‘thru zero’ or normal mode. Illuminates to indicate switch is on. 16 Spread control knob LFO Sweep section control for setting the relative phase of left/right modulation.
136 Chapter 16: Internal Effects Item Control Function 7 feedback control knob Adjusts the amount of negative/positive feedback applied to the phaser. Range is from -100% to +100%, with 0% at top dead centre. 8 spin control knob Adjusts the amount of relative phase of left/right modulation. Range is from 0% to 100%. 9 STAGES button Selects the number of all pass stages, which sets the number of notches in the frequency response. 10 SWEEP button Sets the modulation waveform shape.
137 Pitch Shifter effect Pitch Shifter effect The Pitch Shifter effect is a sound processing device for changing the pitch of an audio signal without changing its duration. 16 1 2 1 3 2 4 3 5 4 6 5 7 6 7 8 9 10 11 12 13 14 15 Front panel of the pitch shifter effect Item Control Function 1 COARSE control knob Adjusts the pitch shifting amount in whole tones. Range is from -12 to +12, with 0 at top dead centre. The numerical value is shown underneath.
138 Chapter 16: Internal Effects Item Control Function 15 ON switch Switches pitch shifter effect on/off. 16 Win Sz control knob Sets the window size used by the pitch shift algorithm. High values result in larger latency, but better quality for low frequency or polyphonic audio source. Low values produce low latency and work best on monophonic audio source.
139 3-Band Compressor effect 3-Band Compressor effect The 3-Band Compressor effect is for applying different compression profiles to different areas of the audio spectrum. 1 10 2 3 4 9 8 7 6 5 11 12 Front panel of the 3-band compressor effect Item Control Function 1 In button Switches the stereo 3-band compressor in/out. It has an adjacent LED (yellow) for in/out indication.
140 Chapter 16: Internal Effects Dynamic EQ The dynamic EQ is a 4-band parametric dynamic equaliser, which is able to provide frequency selective compression or expansion. The dynamic EQ features proportional-q filters that, when boosting or cutting by small amounts, reduce the bandwidth of the filter compared to the setting at maximum cut/boost. Filter coefficients are calculated at the audio rate to provide a lightning fast attack time, which is essential for transparent operation.
141 Dynamic EQ Item Element Function 1 MODE button Selects the routing configuration. Audio routing paths are illustrated by item 18. 2 Band selection indicator Shows the selected routing configuration mode. 3 Limit curve Shows the minimum cut/maximum boost EQ response for the selected band. 4 Dynamic curve Shows the real time dynamic EQ response curve. This curve will vary between flat (no EQ) and the outer curve (full EQ) depending on the signal level, ratio and threshold settings.
142 Chapter 16: Internal Effects Above Threshold Compression ( Below = off, Ratio = comp ) Output Level Above Threshold Expansion ( Below = off, Ratio = exp ) Output Level threshold Input Level Below Threshold Compression ( Below = on, Ratio = comp ) Output Level threshold Input Level Below Threshold Expansion ( Below = on, Ratio = exp ) Output Level threshold Input Level threshold Input Level Figure 10: Transfer characteristics PRO2 Live Audio System Owner’s Manual
143 Chapter 17: Control Groups PRO2 control groups comprise VCA, POPulation, MCA, auto-mute and talk groups. This chapter explains the functions of each of these groups and shows you the areas on the control surface and GUI that are used for their operation and management. VCA and POPulation groups A VCA/POPulation group can contain any combination of channels. When you select a group via the control surface its channel members are unfolded to the channel faders from right to left.
144 Chapter 17: Control Groups VCA groups There are eight VCA groups, which are accessible via the mix fader LCD select buttons when configured for VCA operation. 7 6 5 4 3 2 8 9 1 4 3 2 VCA groups on the control surface and GUI Item Description 1 LCD select button, selects the VCA group and is also used for group member assignment. 2 VCA group control, adds its level control on top of the local channel fader controls of the group members.
VCA and POPulation groups 145 Item Description 4 MUTE switch. This is, technically, not a mute but a fader minus infinity (-∞) switch that overrides the VCA group master (without moving its physical position). The VCA group mutes can be stored and recalled as part of the scene automation.
146 Chapter 17: Control Groups POPulation groups There are six POPulation groups. Although similar to VGA groups in their methods of group management and selection, they have limited functionality. 4 3 2 1 POPulation groups on the control surface and GUI Item Description 1 LCD select button, selects the VCA group and is also used for group member assignment. 2 Area B button. When this is enabled, the first three group members are assigned to area B on group activation.
147 Auto-mute (mute) groups Auto-mute (mute) groups You can simultaneously mute any channels you want by assigning them to an auto-mute group. You can have up to six auto-mute groups, each one being enabled by its own MUTE button in the population and mute groups section. Auto-mute groups are managed via the Mute Groups screen of the GUI menu, from where you can assign channels to any of the groups.
148 Chapter 17: Control Groups >> To open the Mute Groups screen At the GUI, choose home Control Groups Mute Groups. >> To program mute group at the control surface 1 In the auto mute groups section (master bay), press and hold the SELECT button of your chosen auto-mute group. 2 Do one of the following: • To add inputs to the group, press the LCD select button of each input channel you want in the group. If necessary navigate the input channels you want to the control surface.
149 About the control group screens Item Control Function 1 Group member selection lists These group type-dependent lists let you choose which inputs, returns, auxes, matrices and masters you want as members in the selected group. If necessary, use the slider on the right of a panel to access all non-members. You can add more than one member at once by using the Ctrl and Shift keys on the keyboard. Shift will select a range of members and Ctrl will act as an individual toggle.
150 Chapter 17: Control Groups Configuring the groups home Control Groups Group Sheet Similarly to the Input Sheet screen, the Group Sheet screen lets you change the name and background colour of each group as they appear on the GUI screen and LCD select switch. Additionally, you can change the colour of all the current members of the group to match the group colour by clicking the fill button . >> To open the Group Sheet screen At the GUI, choose home Control Groups Group Sheet.
151 Chapter 18: Copy And Paste The PRO2 has a number of copy and paste features that make it easy to copy useful settings to other areas. You can copy and paste the following: • Detail areas across channels — see “Using copy and paste” on page 87. • Parameters across GEQs — see “Copying settings between GEQs” on page 126. • Parameters through scenes — see “Show editor” on page 86. • Scenes — see “Copying and deleting scenes” on page 169 and “To copy and paste sections to a scene(s)” on page 86.
152 Chapter 18: Copy And Paste PRO2 Live Audio System Owner’s Manual
153 Chapter 19: Assignable Controls This chapter describes the assignable controls section, which has full GUI support and lets you do the following: • Operate specific detail area controls of the channels currently assigned to the channel faders (see “Operating the channel fader assignments” on page 154). • Control any rotary on the control surface (see “Controlling a rotary control” on page 155). • Operate the controls of an internal rack unit (see “Controlling an internal effect/GEQ” on page 157).
154 Chapter 19: Assignable Controls Operating the channel fader assignments During normal operation the assignments of the assignable controls section follow the cross-hair (see “GUI cross-hair” on page 39) detail area selection. This lets you control a predetermined button and control knob within the selected detail area. Although you can change the button assignment within a detail area (using the ALT button) the control knob assignment remains fixed.
155 Controlling a rotary control Controlling a rotary control An important function of the PRO2 is one that lets you operate any of the control knob functions on the control surface, such as gain trim, compressor/gate threshold and level, and even any of the internal effects (but not the GEQs), from the assignable controls section. This gives you quick access to the controls that are currently the most useful to you.
156 Chapter 19: Assignable Controls >> To open the Assignable Controls window Press the quick access button in the assignable controls section (see “The assignable controls section on the control surface” on page 153). In the example shown right no controls have been assigned.
157 Controlling an internal effect/GEQ Controlling an internal effect/GEQ As the internal effects and GEQs of the PRO2 are primarily GUI-only features, control surface support is provided by the assignable controls section, which lets you operate their parameters using physical controls. With an internal rack unit selected on the GUI, a specific set of its parameter controls will be automatically assigned to the assignable controls section.
158 Chapter 19: Assignable Controls Item Description 4 Effects only: Description of the effect’s button currently assigned to the button. GEQ only: Will show either the text “zoom n” (where n is number from 1 to 8) or “overview” to indicate which display you are in, that is, overview or zoom, respectively. 5 Navigation buttons, which replicate the arrow buttons to the right of the assignable controls section on the control surface (see “Rack and unit control navigation” on page 158).
159 Controlling a GEQ Figure 12: Changing the effect parameter assignments Controlling a GEQ You can use the assignable controls section to adjust the faders and controls of an internal GEQ, such as the high/low pass filters, notch filters, slope, etc. To accommodate all of the faders there are, effectively, two levels of display, known as “overview” and “zoom”. The overview display appears when you open the window of the GEQ, and lets you adjust a group of GEQ faders simultaneously by the same amount.
160 Chapter 19: Assignable Controls In the zoom display, each of the assignable control buttons ‘zooms in’ on a specific group of faders. Each fader is assigned its own control knob in the assignable controls section, so that it can be operated individually. The right navigation arrow button opens the GEQs control panel (far right).
161 Chapter 20: Scenes And Shows (Automation) This chapter shows you how to use scenes and shows, which are part of PRO2 automation. About automation Automation is predominantly a GUI-only function that allows complex editing of scenes and the creation of show files via the GUI menu. The control surface provides limited control via the automation section, which facilitates fast store/recall operation during show time and rehearsals.
162 Chapter 20: Scenes And Shows (Automation) Automation controls Although automation is supported on the master bay control surface by the automation section, most of the functionality is accessed via the GUI. The Automation screen allows editing of scenes, show files and events, and provides access to the scope editing screens. Additionally, the GUI has a Files screen for show file management and transfer.
Automation screen 163 Automation screen The Automation screen (shown right) contains information on the following: • Scenes — see “Scenes” on page 164. • Shows — see “Show files” on page 172. • Scope — see Chapter 21 "Scope (Automation)" on page 177. • Events — see Chapter 23 "Crossfades (Automation)" on page 191. For details of how to open the Automation screen, see “To open the Automation screen” on page 82.
164 Chapter 20: Scenes And Shows (Automation) • Clear Selection: Unchecks any scenes that have been checked. • Exit: Closes the right-click menu. Scenes The scene management areas of the Automation screen are is intended for fast operation during show time and rehearsals. They let you edit, copy, delete, store and recall scenes, and can be broadly subdivided into the following areas.
Scene contents 165 For details of how to recall a scene and create a new scene from the currently selected one, see “Managing the scenes” on page 84. Scene contents A scene contains all of the control centre settings that existed at the point of creation, except: • Anything that is explicitly taken out of store or recall using the automation scope controls. • All solo, monitor and comms section controls. • All surface selection or navigational control settings.
166 Chapter 20: Scenes And Shows (Automation) Date and time The current date and time, and the duration of the current scene are displayed towards the top of the Automation screen. Today’s date Current time Duration of current scene Scene cue list The scene cue list provides you with an overview of the show. It tells you at a glance where you are in the performance and provides scene information, such as scene number and title, some of which are editable.
167 Scene cue list Item Element Description 7 Edit column Contains a tick box per scene/event, which is used for selection purposes when reordering scenes, see “Changing the order of the scenes” on page 170. 8 Eye symbol Opens the Show window (see “Configuring the scene cue list view” on page 168). 9 GLOBAL scene See “Additional control — managing events” on page 60. 10 safe scene See “Initial snapshot scene (scene 0)” on page 165. 11 Scroll bar Lets you scroll to the other scenes.
168 Chapter 20: Scenes And Shows (Automation) Configuring the scene cue list view You can exclude any of the following elements from the scene cue list (see “Scene cue list” on page 166), which is done via the Show window (shown right): • Empty scenes • Global events • MIDI events • GPI/O events • Internal events >> To configure the scene cue list view 1 Click the eye symbol 2 In the Show window, select (tick) the desired option(s). 3 Click OK.
Adding a new scene 169 Adding a new scene You can add a new scene anywhere in the cue list. The new scene can be inserted in the cue list or you can overwrite an existing scene, which replaces it with the new one. >> To insert a new scene 1 Right-click the scene before which you want to insert the new one. 2 From the right-click menu, choose Insert Scene. >> To overwrite an existing scene with a new one 1 Right-click the scene you want to overwrite.
170 Chapter 20: Scenes And Shows (Automation) Changing the order of the scenes You can change the order of the scenes in the cue list. This is done using REORDER SCENES button. You can reorder as many scenes as you want by selecting them in the order you want them to appear in the reordered list. >> To reorder the scenes 1 In the Automation screen, click REORDER SCENES. The grey double arrowhead symbol will appear in each box in the Edit column.
Using patching in automation 171 Using patching in automation The Automate Patching option switches on per-scene automatic routing, and must be used with caution. To alert you to the drastic consequences of using this option, a WARNING window appears. You can change the patching of certain sources and destinations on a per-scene basis. For example, you have an input channel’s compressor side chain patched from one source in one scene and from a different source in another scene.
172 Chapter 20: Scenes And Shows (Automation) Show files Show files are only handled via the GUI, using the Automation and Files screens of the GUI menu. Managing show files The Automation screen lets you create new shows, load existing ones and update the current show file with the latest settings.
173 Rehearsals Managing show files on the Files screen Show files can be transferred between the PRO2 and an external USB device, such as a USB memory stick. This allows you to backup and archive your show files, so none will be lost, and also transfer them to other PRO2s. You can even create templates for new shows, so that you don’t have to start from scratch, or modify existing show files. All this is done via the Files screen (see “About the Files screen” on page 203).
174 Chapter 20: Scenes And Shows (Automation) Safes Important: Safes are intended for emergency use only and are not to be confused with scope (see Chapter 21 "Scope (Automation)" on page 177). PRO2 safes prevent certain controls from being recalled with a scene. Safe activation and status are provided on both the control surface (channel safes section) and the GUI (Hardware Safe screen). The channel safes screen on the control surface and the GUI Hardware Safe screen. Click KEY to open the Key window.
175 Safes >> To open the Hardware Safe screen At the GUI, choose home Automation Hardware Safe. >> To switch a safe on/off Do one of the following: • At the GUI’s Hardware Safe screen, click the desired safe to switch it on/off. This can be done for any safe. • Use the appropriate button in the channel safes section with the appropriate channel assigned to the control surface. • At the GUI’s VCA Groups screen, click the desired safe button.
176 Chapter 20: Scenes And Shows (Automation) PRO2 Live Audio System Owner’s Manual
177 Chapter 21: Scope (Automation) This chapter shows you how to use the scope feature of PRO2 automation to include/exclude specific parameters on scene store/recall. Although scope has two functions, recall and store, the emphasis in this chapter is on recall scope, which will be the most commonly used of them both. Store scope will only be required in certain circumstances, and even then it must only be used with caution (see “Using store scope” on page 183).
178 Chapter 21: Scope (Automation) Item Element Description 3 INDV. CHANNEL button Scope function button for selecting all of the parameter sections of a single channel on the scope screen. 4 CONSOLE WIDE button Scope function button for selecting all of the parameter sections of every channel on the scope screen. 5 ALL button Scope function button that selects all of the parameter sections on the scope screen, that is, for every channel, assignable effect and internal GEQ.
179 Selecting scope parameter sections Assignable Effects (internal effects) and Graphic EQs Matrix (matrices) Variable Control Associations (VCA and POP.
180 Chapter 21: Scope (Automation) >> To select a single parameter section 1 Click SINGLE. 2 Click the desired parameter section. In some cases more than one parameter section may be selected. This may occur if: • The parameter section belongs to a channel that is stereo linked. The equivalent parameter section of the other paired channel will also be selected. • Other channels are patched to the same source as the channel in which you are making your selection.
Selecting scope parameter sections 181 >> To select a single parameter section console wide 1 Click CONSOLE WIDE. 2 In any channel, click the desired parameter section. For example, clicking the fader parameter of input channel 1 selects the fader parameter of every channel. >> To select every parameter section on the console Click ALL. Every parameter section on the Recall Scope screen is selected (as shown right).
182 Chapter 21: Scope (Automation) Selecting bus parameters As a channel’s bus parameter section represents all of its available buses collectively, you can only select either all or none of its buses using the scope function buttons. However, by clicking the bus parameter section you can open its ‘bus select’ window, which lets you select any buses you want out of scene. In this window each aux/matrix bus is represented by an single icon, and only available buses are shown.
Saving scope parameters in a scene 183 Saving scope parameters in a scene Scope parameters have to be saved in a scene. >> To save your selected parameters in a scene 1 Save the parameters you want into a scene (see “To create a new scene using the current settings” on page 59). 2 Select the desired recall scope parameters (see “Selecting scope parameter sections” on page 179).
184 Chapter 21: Scope (Automation) PRO2 Live Audio System Owner’s Manual
185 Chapter 22: Events (Automation) This chapter shows you how to use the events of the PRO2’s automation. About events There are four types of event — MIDI, GPIO, internal and crossfade — that you can have in a scene, and you can have any combination of each. You can choose whether the event is triggered on the PRO2 or on an external device. For more information on events and also how to create, edit and copy/paste an event, see “Additional control — managing events” on page 85.
186 Chapter 22: Events (Automation) About the Edit Event window You can edit the parameters of an event in the Edit Event window. 9 1 8 2 3 4 5 6 7 Item Description 1 Disable Event tick box, for choosing whether the event is missed out (skipped) during a rehearsal. 2 TEST EVENT button, for executing the selected outgoing MIDI or GPIO event using the current event parameters. 3 When... section for selecting the parameters that trigger the event.
187 Programming events Programming events Each type of event is programmed in a similar way, regardless of whether it is an incoming/outgoing MIDI or GPIO event, or an internal event. However, the options in the Edit Event window may vary depending on the chosen event. >> To program an event 1 Open the Edit Event window (see “To edit an event” on page 85). 2 In the Event Name section, type in the event name. If you want to skip this event during a rehearsal, select the Disable Event option.
188 Chapter 22: Events (Automation) Table 7: Incoming event options When ... (from top list downwards) Any IO Box, IO ID1 to IO ID 18 Any MIDI Channel, Channel 1 to Channel 16 Then do this...
189 Programming events Parameter Description Next Opens the next scene on the PRO2. This scene is the same one that would be opened if you pressed the next button. Now Opens the ‘now’ scene on the PRO2. This scene is the same one that would be opened if you pressed the now button. Note Off Informs the instrument to stop playing a note at a specified pitch and velocity. Parameters for Note Off are notes A0 to C7, with each having a possible velocity of between 0 and 127.
190 Chapter 22: Events (Automation) PRO2 Live Audio System Owner’s Manual
191 Chapter 23: Crossfades (Automation) This chapter shows you how to use crossfades. Crossfades are events that are triggered using the standard event mechanism, and are managed via the Automation screen. A crossfade event is managed in a similar way to any other event, such as GPIO and MIDI, and is detailed later on in this section.
192 Chapter 23: Crossfades (Automation) Item Element Description 3 Parameter dropdown list For choosing the level control that you want the crossfade to operate on (see “About the crossfade parameters” on page 192). 4 Crossfade Group drop-down list Contains all of the available user-configured crossfade groups. Also includes the default example group that contains all possible crossfade sources. About the crossfade parameters The following diagram shows the PRO2 configured for 5.
193 About the crossfade Edit Event window Using a crossfade mute The Mute option of the Parameters list lets you initiate a mute at the end of a crossfade down operation. For example, if you set a crossfade of two seconds, the mute will turn on after this time has expired (provided it was off). If the crossfade is a ‘crossfade up’, the mute will turn off during the crossfade up time (provided it was on).
194 Chapter 23: Crossfades (Automation) >> To create a crossfade event 1 Open the Edit Event window. 2 If you want to disable this event, select the Disable Event option. 3 In the When... section, select the parameters that will trigger the event. 4 If you want to incorporate a time offset delay between the event being triggered and the start of the event, set a time in the Time Offset section. 5 In the Then do this... drop-down list, select the X-Fade Event option.
195 Crossfade groups Note: The graph display shows the current longest crossfade in progress. So, if a delayed crossfade starts during the current one, and it is longer than the current one, the graph will change to show the new crossfade. You can manually override the crossfade using the controls in the automation section of the output bay (see “Manually controlling a crossfade” on page 198). Crossfade groups Crossfade groups let you choose which channels/buses/groups will contain the crossfade.
196 Chapter 23: Crossfades (Automation) Item Description 9 A, I and N buttons. Each section in the crossfade source panel has a set of these buttons, which select all members in the list, invert the current list selection or deselect all members in the list, respectively. 10 A panel containing a list of channels, buses or groups available for crossfade group membership. >> To open the Crossfade Groups screen At the GUI menu’s Automation screen, click Crossfade Group Edit.
Global events 197 >> To delete a crossfade group In the Crossfade Group List panel, select the crossfade group you want to delete and then click Delete. You cannot delete the “example group” crossfade control group. Global events The GLOBAL scene, at the top of the cue list in the Automation screen, lets you have the same crossfade(s) in every scene. However, any scene-based crossfade(s) will override the global one(s) if both are present.
198 Chapter 23: Crossfades (Automation) Manually controlling a crossfade The controls in the automation section let you manually override the crossfade. The cancel, now and ok buttons in the automation section Control Function during crossfade cancel button Pauses the crossfade. Pressing the cancel button again, while the crossfade is paused, cancels the crossfade. Note: The level of the control on which the crossfade is operating will remain at the point at which it was paused.
199 Chapter 24: User Libraries (Presets) User libraries is a GUI only feature that provides a method of handling presets. The GUI menu has an option that opens the Preset Manager screen. For more information on presets, including details of how to save and load a preset, see “User library (presets)” on page 88. About the Preset Manager screen Using the Preset Manager screen, you can create new user libraries, load existing ones or save the current one.
200 Chapter 24: User Libraries (Presets) Item Description 5 List of presets in the user library. For a description of the column titles, see Table 10 “Description of preset list titles” on page 200. 6 Operation status information. Table 9: Description of Preset Manager screen function buttons Button Use to New Create a new preset library. Load Load a preset library. SAVE Save any unsaved changes that have been made to the currently loaded preset library.
Managing user libraries 201 Managing user libraries The background of the SAVE button in the Preset Manager screen changes to red when changes have been made to the current user library, but they haven’t yet been saved. We recommend that you save these changes regularly. >> To create a new preset library 1 In the Preset Manager screen, click New.
202 Chapter 24: User Libraries (Presets) >> To import a preset library into the one currently selected 1 In the Preset Manager screen, click Import. 2 In the Load File window, click the preset library whose contents you want to import. 3 Click OK. If the currently selected preset library has unsaved changes, the window message “The Preset Library has not been saved Do you wish to continue?” will appear. To continue importing, click OK. If you want, you can save the changes by clicking SAVE.
203 Chapter 25: File Management This chapter shows you how to import/export your show and preset files. About the Files screen The Files screen manages files on the control centre (Control Surface panel) and any removable storage device (Removable Storage panel) that is currently plugged into one of the USB ports (see “Control surface” on page 235). Each panel lists the files contained on its own storage media.
204 Chapter 25: File Management Item Description 6 Removable Storage panel, shows the files currently stored on the storage media (typically, a USB memory key) that is plugged into the active USB socket on the control centre (see “Control surface” on page 235). This panel only appears when the storage media is connected to the control centre, otherwise it is blank. Immediately after plugging in the storage media, you will probably see the message “Analysing...”, while its contents are being read.
205 Chapter 26: Using Other Devices With The PRO2 This chapter explains how to use other external devices with the PRO2. Using multiple digital consoles CHANGING THE SYNCHRONISATION CAN RESULT IN LOUD NOISES FROM THE SYSTEM. ALWAYS MUTE THE PA AT THE AMPLIFIER/SPEAKER BEFORE CHANGING THE SYNCHRONISATION SOURCE OR MASTER/SLAVE STATUS. You can use an PRO2 together with one or more digital consoles, which can be other Midas digital consoles or indeed any digital console.
206 Chapter 26: Using Other Devices With The PRO2 Sharing the A and B inputs of the mic splitter If you are using two Midas digital consoles, you must configure them to use the A or B inputs of the mic splitters. Although it doesn’t matter which inputs each console uses, they can’t use the same ones. Also, both consoles must be synchronised.
207 Chapter 27: Changing The Preferences This chapter shows you how to change the user settings of the PRO2 to suit your own preferences and the current working environment. For information on configuring the number of GEQs and effects, see “Configuring the number of GEQs (and effects)” on page 125. Setting the meter preferences The Metering section of the User tab provides global parameter adjustment of all of the meters on the control centre.
208 Chapter 27: Changing The Preferences Configuring playback The Playback: Input Channel Source option of the Configuration tab lets you set the record and playback options of a virtual soundcheck. • Lets you select the input channel source as Normal or Tape Return via the radio buttons. • Enable all Tape Returns — enables all tape returns. • Disable all Tape Returns — disables all tape returns.
Selecting the surround mode 209 Selecting the surround mode The Surround Mode section of the Show tab lets you select the type of surround mode that the PRO2 uses. For information, see “Selecting the surround mode” on page 209 and “Surround panning” on page 100. Setting the time and date The Date and Time section of the Configuration tab lets you change the PRO2’s time and date. >> To set the time and date of the PRO2 1 At a GUI screen, choose home Preferences General.
210 Chapter 27: Changing The Preferences • Use Global Tap as Global Meters Pre — choose this option to change the function of the TAP button in the global section (right of the advanced mix bay navigation section) to operate as a global meters pre button (see Meter Attack in “Setting the meter preferences” on page 207).
VCA unfolding • • Aux sends 1-16 and matrices 1-8 (PRO2 only) • Aux Sends 1-16 (PRO2c only) 211 The sixth POPulation group is pre-populated with: • Matrices 1-8 (PRO2c only) • FX 1-3 are pre-loaded with DN780 Reverb effects • FX 4 is pre-loaded with a Pitch Shifter effect • FX 1-4 stereo outputs are patched to aux returns 1-8 Normal (FOH) mode In addition to the common normal mode settings (above), the following settings are applied in Normal (FOH) mode.
212 Chapter 27: Changing The Preferences 3 In the Set Name Lists window (shown right), click within the field containing the name you want to change. Enter the new name (see “Text editing” on page 42). Repeat for any other names you want to change. 4 Click CLOSE. On-scene store The On Scene Store section of the User tab lets you choose whether or not parameters protected by a channel safe will be written to a scene when the scene is stored (see “Overriding store scope” on page 170).
Selecting the fan speed 213 Selecting the fan speed In the Fan Speed section of the Configuration tab you can select the speed of the internal cooling fan of the PRO2 Control Centre according to the operating conditions. If you are operating the PRO2 in a warm or hot environment we recommend that you select the Fast option. If the noise of the fan operation is causing a problem, select the Slow option.
214 Chapter 27: Changing The Preferences PRO2 Live Audio System Owner’s Manual
215 Chapter 28: Delay Compensation (Latency) A time delay is induced in a channel’s signal by placing, for example, an insert or GEQ in its path. This delay affects system latency and can also produce undesirable audio effects. To overcome this the PRO2 incorporates a system of user-configurable delay compensation parameters. These are presented to the user in the form of button-selectable options on the GUI and can be switched on or off to suit the current application.
216 Chapter 28: Delay Compensation (Latency) To avoid the comb filtering effect, the PRO2 insert compensation works by delaying all channels except the ones that have inserts assigned. In practice, the actual delay used for compensation depends on the type of insert (internal/external) and its location (stage/FOH). Each channel type or layer within the console, such as, input, aux, master or matrix, has its own parameter controlling the delay compensation for that layer.
217 GUI Delay Compensation options Section Option Description Recommendations Latency (ms) Insert Compensates for inserts placed in aux buses. To do this it modifies the delay that sits between the input channel outputs and master/matrix channel inputs, so that signals fed from inputs to masters will line up with signals fed from inputs through auxes to masters. If there are no inserts on any aux channels, switch this option off to reduce overall system latency. 0.
218 Chapter 28: Delay Compensation (Latency) Monitor Mode (Align with Masters) The default console bus structure is organised such that inputs can be routed to masters, and also simultaneously routed to masters and matrix channels via aux buses (see Figure 19 “Routing via aux buses”) or via aux and return buses (see Figure 18 “Routing via aux and return buses”), while maintaining the same overall input to output latency in both paths.
219 Zones Monitor Mode = ON, all other compensation = OFF Aux Bus Alignment = OFF, all other compensation = OFF Input Channel Master Channel Matrix Channel Input toAux, Aux,Master Master Matrix Input to && Matrix OutputLatency Latency = 1.79 Output = 1.
220 Chapter 28: Delay Compensation (Latency) The input to direct output latency depends on the direct output mode and the Inserts option of the Input Channel insert delay compensation status according to the following table. Input channel insert compensation (ms) Direct Output mode Off On Pre-processing 0.59 0.59 Post-processing 0.948 1.
221 Typical configurations Typical configurations Here are some actual examples of typical configurations to illustrate the effects of delay compensation. Please note the following: • All XLRs are located at stage end, unless FOH is stated. • INS can mean an internal effect or an external effect with analogue, or AES3 I/O at either FOH or stage position.
222 Chapter 28: Delay Compensation (Latency) • XLR – IP – AS (With GEQ) – MTX (With GEQ) FOH Mix Low Latency The following table shows the delay compensation settings for this mix. Option On/off status Master to Matrix Post-processing Off Input Channels Insert Off Aux Sends Monitor Mode (Align with Masters) Insert Send-FX-Return Graphic EQ Off Off On Off Master and Matrix Insert Graphic EQ Off On The following example signal paths all measure the same latency of 366 samples @ 96kHz = 3.
223 Typical configurations Monitor Mix The following table shows the delay compensation settings for this mix. Option On/off status Master to Matrix Post-processing Off Input Channels Insert Off Aux Sends Monitor Mode (Align with Masters) Insert Send-FX-Return Graphic EQ On On Off On Master and Matrix Insert Graphic EQ On On The following example signal paths all measure the same latency of 300 samples @ 96kHz = 3.
224 Chapter 28: Delay Compensation (Latency) Monitor Mix (Low Latency) The following table shows the delay compensation settings for this mix.
Description Volume 4: PRO2 Live Audio System Owner’s Manual
227 Chapter 29: Panel Connections This chapter describes the rear and front panels of the PRO2. Rear panel connections The rear panel has two main areas.
228 Chapter 29: Panel Connections Connectors in area A Area A houses the connectors for audio, networking, synchronising, etc. 1 2 3 4 5 6 7 8 9 15 14 13 12 11 10 External connections on the left rear panel of the control centre Item Description 1 Lamp connector (see “Other connections” on page 29). 2 AES3 sync connectors (see “AES3 sync” on page 229). 3 Monitor a and b connectors (see “Monitor a and b outputs” on page 229). 4 Input connectors (see “Inputs” on page 229).
229 Rear panel connections AES3 sync input and output connectors for synchronisation with external devices that can transmit/receive a 96kHz AES3 signal. Monitor a and b outputs There are two monitor outputs sections (monitor a and monitor b) for the monitor A and B sections, and both have right and left connectors. left right left right Inputs The inputs section has eight input connectors for XLR mic/line inputs.
230 Chapter 29: Panel Connections Outputs The outputs section has eight output connectors for XLR analogue outputs. Master outputs The master outputs section has a mono and left and right output connectors for XLR analogue outputs. mono right left Talk out The talk out output connector for a male output XLR.
231 Rear panel connections AES3 The AES3 section has two pairs of input and output connectors for synchronisation with external devices that can transmit/receive a 96kHz AES3 signal. out 3 & 4 in 1 & 2 in 3 & 4 out 1 & 2 Talk back The talk back input connector accepts a female input XLR. AES50 audio Six AES50, 24-wide, bi-directional digital audio EtherCon® ports.
232 Chapter 29: Panel Connections Word clock The word clock 75R section comprises input and output BNC cable sockets for synchronisation with external devices that can transmit/receive a 96kHz word clock signal. Video sync The video sync port has an input BNC cable socket for synchronisation with a video device. MIDI The MIDI section has in, out and thru sockets that each accepts a 5-pin DIN connector.
233 Rear panel connections Connectors in area B Area B houses the connectors for mains power, USB devices, external monitor, etc. 1 2 3 4 5 5 External connections on the right rear panel of the control centre Item Description 1 Ethernet control connector (see “Ethernet control” below). 2 control computer reset button. This recessed button is for service personnel use only. 3 USB connectors (see “USBs” below). 4 Screen output connector (see “Screen output” on page 234).
234 Chapter 29: Panel Connections USBs Two USB ports let you connect USB-enabled devices, such as external keyboards, external mouses, etc. Screen output A DVI screen output port lets you connect an external monitor so that you can view remotely what is shown on the GUI screen. Mains power connectors Dual redundant power supplies each accept a mains IEC connector. Both power supplies must be connected to separate mains outlets.
235 Control surface Control surface The PRO2 has a rear connector panel that caters for the connection of mains power leads, 19” rack unit(s), USB memory keys, keyboards, headphones, talk mics, communications, external monitor, AES3 synchronisation, diagnostics (for service personnel only), lamp and word clocks (75R). The control surface houses a USB connector for uploading/downloading show files and updating the system software, and a connector for a talk mic.
236 Chapter 29: Panel Connections PRO2 Live Audio System Owner’s Manual
237 Chapter 30: Input Channels By default, all of the input channels are mono, although any two adjacent channels (odd left and even right) can be linked to form a stereo pair. The order of processing in the signal path of both channel types is basically the same. The order of the descriptive sections in this chapter loosely follows the signal path taken by the input channels. However, this varies according to signal processing order and the operation of certain controls.
238 Chapter 30: Input Channels Input channel areas The input channels are assigned to the channel bay faders. However, by using the EXTEND button in the channel faders section (see the PRO2 Live Audio System Quick Start Guide for details) the mix bay faders can be used as well. Detail adjustment of the input channels is augmented by the channel detail areas. The GUI provides extensive input channel support and also provides extra functionality.
239 Inputs on the GUI Inputs on the GUI The GUI replicates the channel faders by displaying the eight channels currently assigned to them. When an input channel is selected the GUI’s channel strip displays the channel’s input channel overview. From this display, you can access detail areas by clicking within specific sections (avoiding any controls). For details of how to operate the GUI, see Chapter 6 “Working With The PRO2 Control Centre”.
240 Chapter 30: Input Channels • Masters (faders, solo, panning etc.) For details of how to navigate the GUI channel strip, see “About GUI navigation” on page 46.
241 Input metering Input metering The Console Overview screen shows all of the meters all of the time. Meters can be switched globally to monitor the raw A/D input point, and are also individually switchable using the meter CHECK button in the gain section (see “Mic amp input gain (preliminary input processing)” on page 244).
242 Chapter 30: Input Channels Channel configuration controls There are a number of input channel controls that are loosely termed ‘channel configuration’ controls. These comprise: • Input channel ID (GUI only): name and identification. Both the name and colour of the name field are user-configurable. For details, see “Input channel ID (GUI only)” on page 243.
Channel configuration controls 243 Input channel ID (GUI only) You can change the channel name via the GUI, which can be done directly in the input channel overview or in any of the detail areas (see “Text editing” on page 42). To change the background colour of the input channel name field (default is green), open the Naming Sheet screen of the GUI menu.
244 Chapter 30: Input Channels Safes Each input channel has six different safes that protect specific controls/areas from the automation system. You can switch the safes on/off by using the buttons in the channel safes section of the channel strips or via those in the input channel safes section on the GUI, which also illuminate when they are on. For more information on what areas are protected by each safe, see Appendix H "Parameters Protected By Safes" on page 385.
245 Mic amp input gain (preliminary input processing) 4 12 5 7 2 1 6 13 7 11 13 6/14 10 5 4 14 9 7 12 6 10 11 15 8 DL251 DL351 DL431 DL451 Mic amp input gain on the control surface and GUI Item Control Function 1 48V switch (stage box only) Connects 48 volts of phantom power to the XLR mic input channel connector. Suitable for a condenser microphone or DI box. 2 TALK switch Connects talk mic and/or tone and noise generators to the input channel.
246 Chapter 30: Input Channels Item Control Function 5 SLOPE switch (digital trim only) Selects the low pass filter. Where, switch on (illuminated) = 12dB slope and switch off = 6dB slope. 6 stage box control knob Adjusts the input gain of the remote amplifier in 5dB steps, ranging from -5dB to +40dB. Note that the stage box control knob on the control surface will only adjust the gain currently selected to the GUI input channel strip, that is, stage box or digital trim.
Mic amp input gain (preliminary input processing) 247 Using gain swap Operating the gain SWAP button, swaps the function of the gain control (top of input fast strips) between that of the digital trim and stage box gain. In addition, if the Fast Zone Delay Control option (see “Setting the user interface preferences” on page 209) is enabled, input delay is also included in the swap. Always check the GUI for ‘swap’ status.
248 Chapter 30: Input Channels Direct output The direct output section lets you to take a signal directly out of a defined point in the input channel’s signal path and route it to either an internal assignable effect or a physical output (a physical connection at one of the line I/O boxes). This function is optional and assigned on a channel-by-channel basis. This section is deliberately distanced from the main channel panel controls because it is a limited resource and unused on many channels.
249 Dynamics (D zone) Item Description Function 6 Direct output drop-down list Displays the destination(s) of the direct output. For example, to an O/B vehicle, while simultaneously going into a DN9696. 7 MODE button Changes the source tap-off point for the signal. There are three options: post-fader and mute; pre-mute and post-processing; or pre-mute and pre-processing. This function is not used if the direct output is not unassigned to channel.
250 Chapter 30: Input Channels Compressor The input channel compressor has four styles — corrective, adaptive, creative and vintage — which are selectable via the MODE button. Each has a distinctive sound and a different appearance in the GUI channel strip. While the dynamic section is addressing the compressor, all of its controls are enabled except the hold control knob.
251 Dynamics (D zone) Item Description 4 Compressor KNEE switch, controls how compressor starts to apply gain as the signal goes through the threshold (see “About the compressor graph” on page 252). There are three knee types as follows, accompanied by their typical affects on the compressor graph: • Hard knee Compressor immediately applies gain reduction at selected ratio once attack time has elapsed. This knee has hardly any curve at all. • Medium knee Intermediate knee type.
252 Chapter 30: Input Channels The GUI shows a graph of the compressor envelope (input level against the output level) to help you visualise the effect that the compressor is having on the signal (typically as shown right). Output level About the compressor graph Figure 23 “Compressor graphs showing the effect of ratio” shows what happens to the compressor graph with and without ratio.
253 Dynamics (D zone) With a signal running through the compressor, a coloured line on the graph follows the contour of the shaded graph area. The line’s colour changes according to signal level to show the level of compression, that is, uncompressed (green), within knee area (yellow) or at full compression (red). An example of each is shown in the following diagram. Uncompressed Within knee area Fully compressed If signal doesn’t reach threshold (point where gradient changes), the line is green.
254 Chapter 30: Input Channels Gate Unlike the compressor, gate mode has only one style. While the dynamic section is addressing the gate, all of its controls are enabled except the make up control knob and the MODE and KNEE buttons. 7 6 8 9 1 5 4 D zone 2 3 11 10 Item Description 1 Up/down select buttons, for swapping dynamic section control from compressor to gate, and vice versa. 2 Gate range control knob, adjusts amount of gain reduction applied to the signal below threshold.
255 Dynamics (D zone) Item Description 10 Gate meter. 11 Gate graph display. Similar to the compressor graph (see “About the compressor graph” on page 252), this shows the effects of adjusting the gate control knobs. Side chain You can manipulate the side chain filter from the side chain section (channel strip and GUI). The side chain filter is a swept band pass type, which acts on the dynamics side chains of the compressor and gate, and covers the full audio spectrum.
256 Chapter 30: Input Channels Item Description 4 MENU button, opens the Select Side-Chain Source window from which you can select the side chain source for the selected input channel (see “Side chain” on page 255). Pressing this button with the Select SideChain Source window open, closes the window. 5 LISTEN/[LSTN] switch, places the side chain pushbutton onto the channel filter bus, allowing the audio signal to be monitored via headphones.
257 EQ (E zone) Item Description 4 Insert return field shows you the source of the insert return. 5 Insert send field has a drop-down list, which shows the destination(s) of the insert return. EQ (E zone) The input channel equaliser (EQ) is a four-band swept parametric EQ (PEQ) that allows tonal control of the input signal via the parametric EQ section, or E zone, in the input channel strip.
258 Chapter 30: Input Channels Item Description 1 EQ on/off switch. 2 freq control knob adjusts the band’s centre frequency. The frequencies that each band covers increases as you move from the bass band to the treble band. The graph in the EQ detail area on the GUI channel strip gives you a visual indication, once some gain has been applied, of where the band is located. 3 SHAPE button, changes shelving mode on treble and bass bands.
259 Mixes Mixes Each input channel can send an individually controllable contribution to each of the 16 aux buses (aux sends) and eight matrix buses (mtx sends). The contributions to the buses are controlled by mix controls that give continuous adjustment (in the range +6dB to off). The controls in the mix fader bay include level/pan and level control knobs, with the pan control coming into operation when the corresponding bus is stereo linked to its neighbour.
260 Chapter 30: Input Channels However, the GUI’s input channel overview gives a simultaneous display of the status of all 24 buses. It displays the levels sent to the buses and shows which are on/off and whether they are pre- or postfader. Don’t forget, you can edit the levels on the GUI using drag. Mix busses can operate in one of three modes and each mix bus can optionally be stereo linked to the bus next to it.
261 Master controls Master controls In general, there are three routing switches to the master buses and also pan control. Pan provides master panning as three-way or two-way (depending on SIS™ setting) and also provides two-way panning for any stereo mix groups stereo and subgroups etc. (When used in fader flip mode, sends to mix buses are controlled from the channel master pan and fader.
262 Chapter 30: Input Channels Item Description 3 pan control knob, adjusts the relative levels sent to a left-right bus pair or the master left-centre-right (LCR) buses. In SIS™ mode, it can also control the ‘image’ to give a constant power crossfade from LCR to stereo. 4 MON (mono) switch, connects post-fader channel signal to mono master bus. 5 mono level/SIS image dual-function control knob. In mono mode, it acts as a mono level control knob to adjust the mono signal level.
263 Solo, mute and fader Solo, mute and fader Each input fast strip contains the MUTE and SOLO buttons motorised fader. The fader is replicated in each input fast strip on the GUI and also in the masters detail area (GUI channel strip). The fader controls the channel signal level and provides instant feedback of level settings. 1 2 3 2 4 3 5 5 Item Description 1 LCD select button. 2 MUTE button, mutes all post-processing signals exiting the channel.
264 Chapter 30: Input Channels The LCD select buttons in the input fast strips are used for input channel navigation and group selection. They also provide useful feedback for the user. For more information on navigation, see “About the PRO2 controls” on page 37. Aux returns The aux returns are input channels and their functionality is as broadly described for the mic inputs in the earlier sections of this chapter.
265 Chapter 31: Output Channels This chapter shows you the areas on the control surface that are used to manage the outputs and also describes their function. There are three type of output: auxes, matrices and masters. The structure of this chapter is loosely based on the signal path of the output channels and also the processing areas, which are opened via the output channel overview displays in the GUI channel strip.
266 Chapter 31: Output Channels Output channel areas on the control surface In the default mode of operation the output channels are assigned to the mix faders. However, by using the OUTPUT and EXTEND buttons (see the PRO2 Live Audio System Quick Start Guide) they can also be extended to the channel faders as well. Detail adjustment is augmented by the channel detail areas. The hardware controls are replicated on GUI, which also provides extensive support and additional functionality.
267 Outputs on the GUI Outputs on the GUI The outputs are represented on the GUI in a similar way to the inputs, although each has a different coloured background. Each output channel has a GUI fast strip and these are displayed in banks of eight (except for the three masters). When a channel is selected, its overview is displayed in the GUI channel strip; selecting a non-control area in an overview section will open its associated detail area. This will be detailed more fully later on in this chapter.
268 Chapter 31: Output Channels Processing areas The following processing areas are available from ‘overview’ displays in the GUI channel strip. To see the available processing areas for each output, see Figure 25, Figure 26 and Figure 27.
269 Outputs on the GUI Compressor EQ aux send overview Insert and Configuration Masters Matrix buses Figure 25: Processing areas available from the aux send overview display PRO2 Live Audio System Owner’s Manual
270 Chapter 31: Output Channels Compressor Insert and Configuration matrix overview Fader EQ Figure 26: Processing areas available from the matrix overview display PRO2 Live Audio System Owner’s Manual
271 Output metering Compressor EQ master overview Insert and Configuration Fader Matrix buses Figure 27: Processing areas available from the master overview display Output metering Each output fast strip on the control surface has an 11-segment LED meter and all of the outputs are shown in on the Console Overview screen of the GUI, each with its own meter. For more information, see “Input metering” on page 241.
272 Chapter 31: Output Channels Talk There is a talk switch in each output fast strip and also on the output ‘overview’ displays of the GUI channel strip, which are labelled “TALK” and “TLK”, respectively. If the TALK/[TLK] (internal) switch in the talk mic section is active, the talk buttons will illuminate to prompt the operator to select a bus that the talk signals should be routed to. These are also used to set up a talk group after pressing one of the talk/osc routing panel buttons.
273 Dynamics and EQ Compressor (D zone) For the outputs, the dynamic section (D zone) only has a compressor in the output channel signal path. As the D zone is also used for the gate on the input channels, some controls may be redundant. The output channel compressor has five styles — corrective, adaptive, creative, vintage and shimmer — which are selectable via the MODE button. Each has a distinctive appearance in the GUI channel strip.
274 Chapter 31: Output Channels Item Description 3 threshold control knob, sets the signal level above which gain reduction starts to be applied. Range is from -50dBu to +25dBu. 4 comp/gate up and down select buttons, for swapping dynamic section control from compressor to gate, and vice versa. 5 Compressor make up gain control knob, compensates for the reduced loudness of a compressed signal. Range is from 0dB to 24dB.
275 Dynamics and EQ 6 5 2 E zone 1 2 8 2 1 5 7 3 6 4 3 2 Bands 1, 2 and 6 shelving modes Item Description 1 Up/down band navigation buttons (see “Navigating the PEQ output bands” on page 277). Also used in conjunction with the blue adjacent LEDs to show which band is currently selected. Illuminated up arrow means that band 5 is selected, and illuminated down arrow means that band 2 is selected. 2 Four blue LEDs, illuminate to show the current band selection.
276 Chapter 31: Output Channels Item Description 5 freq control knob, adjusts signal frequency. The range is band-dependent. On the graph in the EQ processing area (GUI channel strip), causes the envelope to move left/right. 6 SHAPE button, changes the shelving mode on treble and bass bands. For a description of each mode, see “PRO2 output channel EQ modes” on page 293. 7 Shelving symbol. 8 Graph of EQ envelope (see “EQ graph” on page 277). When “OFF” is displayed, EQ is switched off.
277 Dynamics and EQ Navigating the PEQ output bands You can change band selection by clicking the UP/DOWN buttons in the EQ processing area. This will change selection by one band at a time. Yellow rectangle shows which four bands are currently displayed. Bands are shown in descending order from top to bottom (Band 6 is top). Band navigation buttons.
278 Chapter 31: Output Channels Mute, safes, level and solo Each output fast strip (control surface and GUI) has controls for muting, soloing, safes and output signal level control. This is supported on the GUI in the appropriate processing area. They also each have a SELECT button for navigation. In addition, the channel strips (control surface and GUI) have the full complement of safes.
279 Output channel configuration controls Item Description 4 FADER/[FDR] switch, switches fader safe on so that the fader is removed from scene recall. 5 MUTE/[MTE] switch, switches mute safe on so that mute is removed from the scene recall and auto-mute action. 6 AUTO/[AUT] switch, switches auto safe on so that the channel is removed from scene recall (this does not affect the action of the auto-mutes and VCA control groups) and control is removed from VCA control group faders.
280 Chapter 31: Output Channels Output channel ID (GUI only) You can change the channel name that appears in the GUI channel strip (see “Text editing” on page 42). This can be done in the output channel overview or in any of the processing areas. You can also change the background colour of the output channel name field, which is done in the home Mix & Outputs Naming Sheet screen of the GUI menu (see “Configuring VCA/POPulation groups” on page 75).
Output channel configuration controls 281 Direct input The direct input section provides an internal connection to effects etc. or an external input into the output from an effect or line I/O unit. It allows you to take a signal directly out of a defined point in the input channel’s signal path and route it to either an internal assignable effect or to one of the physical outputs (a physical connection at one of the line I/O boxes). This function is optional and assigned on a channel-by-channel basis.
282 Chapter 31: Output Channels Mixes Each of the aux and master output channels can send a variable contribution to the mixes on each of the eight matrix buses. The buses are controlled in pairs via mix controls that give continuous adjustment (in the range +6dB to off) of sub group levels sent to matrix mixes. The controls in the mix section (mix and master bays) include level/pan and level control knobs for each bus pair, whose function (auxes only) depends on the current bus mode in operation.
283 Chapter 32: GUI Menu The GUI is a very powerful multi-functional tool that forms the core of the PRO2 Control Centre. It gives you total control and monitoring of the operating environment, enhances control surface operation (you can even operate the PRO2 by GUI-only) and allows the use of internal and external devices. To facilitate this the GUI incorporates a simple-to-use GUI menu. The GUI menu presents you with a list of options from which to choose, depending on your requirement.
284 Chapter 32: GUI Menu GUI menu flowchart The GUI menu and all of its available submenus are shown in Figure 28 “GUI menu flowchart” on page 284. Icons to the left of the options help to identify the option type and aid navigation. A black triangle to the right of a menu option shows that it has a submenu. Note: Only the submenu for inputs 1 to 8 is shown right, as the submenus for the other inputs (9 to 96) are similar.
285 GUI menu options GUI menu options When you open the GUI menu, you are presented with a main list of options that open specific screens or submenus, as shown in the following table. You can access some of the screens directly from the screen access buttons in the navigation zone (see “PRO2 control surface” on page 18). Option Description/function Default Opens the default display. Files Opens the Files screen (see “Managing show files on the Files screen” on page 173).
286 Chapter 32: GUI Menu Option Description/function Automation Automation option, which opens a submenu with the following options: • Automation — opens the Automation screen (see Chapter 20 "Scenes And Shows (Automation)" on page 161). • Show Editor — opens the Show Editor screen (see “Show editor” on page 86). • Crossfade Groups — opens the Crossfade Groups screen (see “Crossfade groups” on page 195). • Hardware Safe — opens the Hardware Safe screen (see “Safes” on page 174).
Volume 5: Appendices PRO2 Live Audio System Owner’s Manual
289 Appendix A: Application Notes This chapter provides more in-depth information on certain areas and function of the PRO2. Spatial imaging system (SIS™) Although conventional consoles can be used for three-channel mixing, the methods for doing so are complicated and unorthodox. This forces the engineer to work in unaccustomed ways, limiting creative flexibility, and making use by visiting operators impractical. The spatial imaging system (SIS™) has been developed to overcome this.
290 Appendix A: Application Notes Attack The attack control adjusts the time taken for the compressor to respond to an over-threshold signal. The shape of the attack can be selected from one of the five mode combinations mentioned above, making the compressor easily adaptable for a wide number of creative and corrective applications. Release The release control adjusts the time the compressor takes to recover after the programme material falls back below threshold.
PRO2 compressor modes (dynamic) 291 Knee The soft knee curves behave in a traditional way to blend the compression ratio around the threshold setting (as described above), but more importantly they also have a significant effect on the attack envelope shapes. The soft knee typically slows down attack speed on signals in the knee area, which is desirable for natural sounding compression because it compliments the reduced ratio effect of the soft knee.
292 Appendix A: Application Notes brightness and sparkle to the programme, producing extremely natural and lively sounding compression of acoustic instruments. Shimmer mode (overshoot peak - slow) - output only This is a peak sensing compressor with an exponential release and unusual second order attack character that tends to overshoot. If used sparingly, the compressor sounds very soft and natural and can provide additional control of material that already has a fairly low dynamic content.
PRO2 output channel EQ modes 293 Classic treble The classic treble response provides a much steeper gradient between EQ’d and non-EQ’d frequency areas, as made famous by previous Midas consoles like the XL4. This provides better differentiation and minimal phase shift, but there is some undershoot error, that is, when boosting the treble, the mids are slightly cut and vice versa. This is the best all round EQ and especially effective when microphones are covering multiple sources.
294 Appendix A: Application Notes Band 2 can be switched from parametric to high pass filter 24dB. Note: When the 24dB/octave high pass filter is selected in band 2, band 1 becomes inaccessible. Band 6 can be switched from parametric to any of three shelving modes: soft; lo pass filter 6dB; and lo pass filter 12dB. Description Soft (treble) The soft treble response provides a very gentle gradient between EQ’d and non-EQ’d frequency areas.
295 Appendix B: Functional Block Diagrams This chapter contains the PRO2 signal path diagrams.
296 Appendix B: Functional Block Diagrams Mono input channel signal flow PRO2 Live Audio System Owner’s Manual
Returns signal flow Returns signal flow PRO2 Live Audio System Owner’s Manual 297
298 Appendix B: Functional Block Diagrams Aux/group signal flow PRO2 Live Audio System Owner’s Manual
Master signal flow Master signal flow PRO2 Live Audio System Owner’s Manual 299
300 Appendix B: Functional Block Diagrams Mono mix signal PRO2 Live Audio System Owner’s Manual
Monitor signal flow Monitor signal flow PRO2 Live Audio System Owner’s Manual 301
302 Appendix B: Functional Block Diagrams Comms signal flow PRO2 Live Audio System Owner’s Manual
Dynamics signal flow Dynamics signal flow PRO2 Live Audio System Owner’s Manual 303
304 Appendix B: Functional Block Diagrams PRO2 Live Audio System Owner’s Manual
305 Appendix C: Technical Specification This appendix provides the full technical specification for the PRO2 Live Audio System, which includes the DL251 Audio System I/O. © 2011 MUSIC Group IP Ltd. Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed. MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com).
306 Appendix C: Technical Specification Mixing control assistance 6 x auto-mutes 6 x surface POPulation groups 8 x VCA faders 8 x VCA associated POPulation groups 176 x MCA faders 176 x flipped MCA POPulation groups 1000-scene snapshot automation Resilience N+1 cable redundancy and dual redundant PSUs PRO2 general specifications Sampling frequency 96kHz Latency delay <2ms input to master (no compensation) Dynamic range 106dB, 22Hz to 22kHz (no pre-emphasis) Maximum voltage gain 80dB inputs to s
307 PRO2 audio performance specifications PRO2 audio performance specifications Frequency response Input Output Gain 20Hz 20kHz DL251 I/O box DL251 I/O box 0dB 0dB to -1.0dB 0dB to -1.0dB DL251 I/O box DL251 I/O box 40dB 0dB to -1.0dB 0dB to -1.0dB Surface I/O Surface I/O 0dB 0dB to -1.0dB 0dB to -1.0dB Surface I/O Surface I/O 40dB 0dB to -1.0dB 0dB to -1.0dB DL451 I/O box DL451 I/O box 0dB 0dB to -1.0dB 0dB to -1.0dB DL451 I/O box DL451 I/O box 40dB 0dB to -1.
308 Appendix C: Technical Specification Input CMRR Input Output Gain 100Hz 1kHz DL251 I/O box DL251 I/O box 0dB 60dB 60dB DL251 I/O box DL251 I/O box 40dB 90dB 90dB Surface I/O Surface I/O 0dB 60dB 60dB Surface I/O Surface I/O 40dB 90dB 90dB DL451 I/O box DL451 I/O box 0dB 80dB 80dB DL451 I/O box DL451 I/O box 40dB 90dB 90dB DL431 splitter DL451 I/O box 0dB 80dB 80dB DL431 splitter DL451 I/O box 40dB 90dB 90dB DL431 splitter DL431 A out 0dB 80dB 80dB DL431
309 PRO2 audio performance specifications Distortion at +20dBu Input Output Gain 1kHz 10kHz DL251 I/O box DL251 I/O box 0dB 0.03% 0.03% DL251 I/O box DL251 I/O box 40dB 0.03% 0.03% Surface I/O Surface I/O 0dB 0.03% 0.03% Surface I/O Surface I/O 40dB 0.03% 0.03% DL451 I/O box DL451 I/O box 0dB 0.03% 0.03% DL451 I/O box DL451 I/O box 40dB 0.03% 0.03% DL431 splitter DL431 A out 0dB 0.03% 0.03% DL431 splitter DL431 A out 40dB 0.03% 0.
310 Appendix C: Technical Specification Signal path noise 22Hz to 22kHz unweighted Inputs 150R terminated.
311 PRO2 system inputs and outputs PRO2 system inputs and outputs DL251 I/O box - analogue inputs Connector 3-pin XLR balanced A/D converter 24-bit, 96kHz and 128 times oversampling DL251 I/O box - analogue outputs Connector 3-pin XLR balanced D/A converter 24-bit, 96kHz and 128 times oversampling DL251 I/O box - MIDI MIDI In, Out and Thru on 5-pin DIN DL251 I/O box - digital system inputs and outputs System connector 2 x AES50 (24 channels of bi-directional digital audio) on EtherCon® XLR N+1
312 Appendix C: Technical Specification PRO2 control surface - analogue audio system inputs Connector 3-pin XLR balanced A/D converter 24-bit, 96kHz and 128 times oversampling Talkback connector 3-pin XLR balanced line Talk connector 3-pin XLR balanced mic with 48V phantom voltage Meters (11-off) 10-segment, -36dBu to +21dBu PRO2 control surface - analogue audio system outputs Connector 3-pin XLR balanced D/A converter 24-bit, 96kHz and 128 times oversampling Monitor connector 3-pin XLR bal
313 Inputs and output characteristics PRO2 control centre - miscellaneous inputs and outputs Monitor output connector 3-row, 15-pin D-type - analogue VGA USB host connection USB 2.0 full speed (12.0Mbs) 5V, 1A maximum load Lamp connector 3-pin XLR Inputs and output characteristics Analogue input characteristics Input Type Load Z Gain Maximum Level Connector DL251 I/O box 10k -22.5dB to +65dB +24dBu XLR Surface I/O 10k -22.
314 Appendix C: Technical Specification Miscellaneous digital characteristics Type I/O Description Notes Connector Word clock IN Accepts TTL level, 96kHz square wave; impedance 75 ohms BNC Word clock OUT Provides TTL level, 96kHz square wave BNC AES sync IN Accepts a 96kHz digital audio signal conforming to AES3-2003 XLR AES sync OUT Provides a 96kHz grade II reference signal conforming to AES3-2003 XLR Main processing functions Main input channel functions Input channel hi pass 10Hz
Main processing functions Input channel compressor 315 Peak, Linear, RMS, Vintage modes Threshold -50dBu to +25dBu Attack 200µs to 20ms Release 50ms to 3 sec Ratio 25:1 to 1:1 Knee 4dB, 12dB or 40dB Gain 0dB to +24dB Side chain source selectable + filter Frequency 50Hz to 15kHz swept Bandwidth 1/3, 1 or 2 Oct Input channel gate Peak mode Threshold -50dBu to +25dBu Attack 20µs to 20ms Hold 5ms to 2 sec Release 2ms to 2 sec Range 100dB to 0dB Side chain source selectable + filter Frequency 50Hz to 15kHz
316 Appendix C: Technical Specification Output channel functions Output channel band 6 Parametric Operation Frequency 16Hz to 25kHz swept Gain +16dB to –16dB BW 0.1 Oct to 3 Oct Lo Pass Operation Frequency 16Hz to 25kHz swept Slope 6dB/Oct or 12dB/Oct Shelf Operation Frequency 16Hz to 25kHz swept Gain +16dB to –16dB Mode soft curve Output channel bands 3, 4 and 5 Parametric Operation Frequency 16Hz to 25kHz swept Gain +16dB to –16dB BW 0.
317 Status functions Effects channel functions Stereo effects channel 4 available configurable as Stereo or mono in, stereo out (8 in, 8 out for dynamic) Modulated delay effects Complex delay, reverbs Advanced dynamics (8 in, 8 out) RTA and advanced measurements Effects channel GEQ 16 available in place of effects (above) 31 Bands, 1/3 Oct, Proportional Q Lo Pass Frequency 2kHz to 20kHz swept Slope 6dB/Oct or 12dB/Oct Hi Pass Frequency 20Hz to 500Hz swept Slope 6dB/Oct or 12dB/Oct Effects channel matr
318 Appendix C: Technical Specification PRO2 Live Audio System Owner’s Manual
319 Appendix D: Troubleshooting This appendix gives details of troubleshooting the PRO2 Live Audio System. No audio If you have set up the PRO2 and followed all of the instructions for obtaining audio, but you are not hearing anything through the speakers, check the following: • Make sure the appropriate ST buttons in the channel fast strips are on. • Make sure the appropriate ST buttons in the source a/b panels (monitors section of the output bay) are on. • Make sure nothing is muted.
320 Appendix D: Troubleshooting >> To proceed after an error message appears 1 Heed the error message. 2 Click OK. 3 Take the appropriate action for that particular error. Refer to Table 14 “List of error condition messages” on page 320 and Table 15 “List of error description messages” on page 321. Automation error messages An automation error message may be generated by any of the following: • An attempt to perform a copy and paste is ignored. • Attempting to assign notes to a scene.
321 Troubleshooting automation System Type Error Message Fault Condition Automation Failed to insert point scene Attempting to complete point scene storage by clicking OK after selecting “Insert before scene”. Automation Failed to load show Attempting to load a show file. Automation Failed to recall last scene Attempting to recall the previous scene to the control surface. Automation Failed to recall Next scene Attempting to recall the next scene to the control surface.
322 Appendix D: Troubleshooting Error Message System(s) Problem Solution artefact creation policy violation File and Automation The creation of this file type is not allowed. Avoid using this type of operation. artefact deletion policy violation File and Automation The deleting of this file type is not allowed. Avoid using this type of operation. artefact import violation File and Automation The importing of this file type is not allowed. Avoid using this type of operation.
323 Troubleshooting automation Error Message System(s) Problem Solution bad file artefact File and Automation The file has been detected as not valid. Preferences, preset library and show files are validated by comparing their actual attributes against the corresponding fields stored in the header of the file, such as, file size, checksum etc. Try again. If still unsuccessful, and if the file is a show file, try a backup file, if one is available.
324 Appendix D: Troubleshooting Error Message System(s) Problem Solution failed to allocate memory Automation The MC was unable to allocate sufficient memory (RAM) to complete the task. Switch off the DL251/DL252 Audio System I/O and switch it back on again. If the problem persists, it could be an indication of a serious error. Contact Midas Technical Support. failed to configure scope mask Automation The ‘copy and paste through scenes’ operation failed. Try again.
325 Troubleshooting automation Error Message System(s) Problem Solution no next scene Automation There is no next scene relative to the current position in the scene list. This is generated by recalling the next scene when the current scene is the last in the scene list. Avoid this operation on the last scene in the cue list. no previous scene Automation There is no previous scene relative to the current position in the scene list.
326 Error Message Appendix D: Troubleshooting System(s) Problem Solution required device has files that are in use File and Automation Another task is currently accessing file(s) on the device, that is, the internal compact flash of the PRO2 or USB memory stick (if connected). Try again. required device is locked File and Automation Another task is currently accessing the device, that is, the internal compact flash of the PRO2 or USB memory stick (if connected). Try again.
327 Troubleshooting automation Error Message System(s) Problem Solution storage policy violation File and Automation There has been a ‘storage policy’ violation. (This is not necessarily a critical error.) Ensure that all software components are up to date. If the problem persists Contact Midas Technical Support. File and Automation The System Manager is momentarily unavailable. Try again. Automation A parameter with a value that was not valid was supplied to the MC. Try again.
328 Appendix D: Troubleshooting PRO2 Live Audio System Owner’s Manual
329 Appendix E: Updating The PRO2 Host Software This appendix shows you how to update the host software of the PRO2 and also its associated networked devices. About the PRO2 updater The PRO2 has an update facility that provides an easy and straightforward method of updating your system. It lets you install the latest version of host software on the PRO2 Control Centre and also any networked DLnnn or Klark Teknik DN9331 Rapide Graphic Controller units.
330 Appendix E: Updating The PRO2 Host Software About the updater screen During installation the updater screen will appear. This screen lets you select the system devices you want to upgrade, start the update procedure and also shows you how the procedure is progressing. 1 2 3 4 7 5 6 Figure 29: A typical updater display Item Description Function 1 Updater menu See “Updater menu” on page 331.
About the updater screen 331 Updater menu The following table gives a description of the updater menu commands. Command Function Quit Exits the updater. After a power cycle, the control centre returns to the operating condition it was in when the updater command was selected from the GUI menu. Select All Selects all Midas devices connected (and detected) in the PRO2 Live Audio System. Remove All Deselects all Midas devices connected (and detected) in the PRO2 Live Audio System.
332 Appendix E: Updating The PRO2 Host Software Using the PRO2 updater This section shows you how to update your PRO2 Live Audio System. However, before you begin there are a few things you will need and some things you must do.
Using the PRO2 updater 333 >> To update the PRO2 1 Mute the PA at the amplifier/speaker. 2 Plug the USB memory stick containing the .tar file into the USB key socket on the control surface of the PRO2 (see “Control surface” on page 235). The “Run upgrade utility?” window will open automatically. If there is more than one upgrade file on the USB memory stick, you will be instructed on how to select the desired one from the menu. Otherwise, a single upgrade file will be loaded automatically.
334 Appendix E: Updating The PRO2 Host Software 7 Click Upgrade now. A window will open asking if you would like to back up your shows. 8 Click No Thank You to start the upgrade. (If, at this point, you want to back up your shows and preferences, click Yes Please.) The device blocks will change colour according to their update status (see “Device blocks” on page 331). The green bar at the bottom will show the progress of the current action.
Using the PRO2 updater 10 335 Click Quit and reboot to exit the updater and automatically reboot the PRO2. (You can exit the updater later by clicking Quit later.) The GUI will display the screen shown right. Do not switch off the power until the console has fully rebooted. 11 When the PRO2 has fully rebooted, power cycle the system (including all I/O boxes) to restart using the new software. Do this by powering the system down and then powering it up again (see “Powering the PRO2 system” on page 30).
336 Appendix E: Updating The PRO2 Host Software PRO2 Live Audio System Owner’s Manual
337 Appendix F: Parameters Affected By Scope This appendix shows the parameters that are affected by scope. Note: The parameter areas for the scopes (store and recall) and the safes are basically the same. However, the way they are presented in their respective appendix is different. This may provide you with a useful alternative when referring to this material, should you prefer one more than the other (see Appendix H "Parameters Protected By Safes" on page 385).
338 Appendix F: Parameters Affected By Scope The following is the key to the tables in this appendix: Yes = scoped, No = not scoped and N/A = not applicable. Overview The following table shows the page references (in this chapter) of the control areas for the channels, GEQs, effects and VCA groups.
339 Inputs Inputs Each scope screen has 56 input channels in the Input Channels section. Routing (A) All (B) Mic Amp (C) EQ (D) Dyn (E) Busses (F) 56 input channels Mute (G) Fader (H) Figure 30: Parameter sections per input channel Patching A The following diagram details the scoped patching parameters of the input channels, and shows the configuration detail area in the GUI channel strip.
340 Appendix F: Parameters Affected By Scope Configuration A The following diagram details the scoped mic parameters of the input channels, and shows the configuration detail area in the GUI channel strip.
341 Inputs A B C D E F G H Item Parameter 13 Link N/A No No No No No No No 14 Processing order N/A Yes N/A Yes N/A N/A N/A N/A 15 Direct output solo B assignment N/A No No No No No No No * Depends on swap status. ** Only when sourced from a DL431 Mic Splitter.
342 Appendix F: Parameters Affected By Scope Dynamics A B C The following diagram details the scoped compressor and gate parameters of the input channels, and shows the compressor and gate detail areas of the GUI channel strip. Although it only shows the corrective compressor, it also applies to the adaptive, creative and vintage compressors.
343 Inputs A B C D E F G H Item Parameter 1 Compressor: attack, release, threshold, ratio/range/[ratio], gain (make up), KNEE, MODE N/A Yes N/A N/A Yes N/A N/A N/A 2 Compressor sidechain source No N/A N/A N/A N/A N/A N/A N/A 3 Compressor sidechain: IN, freq, and WIDTH N/A Yes N/A N/A Yes N/A N/A N/A 4 Gate key in source No N/A N/A N/A N/A N/A N/A N/A 5 Gate: attack, release, hold, threshold, ratio/ range/[range] N/A Yes N/A N/A Yes N/A N/A N/A 6
344 Appendix F: Parameters Affected By Scope Insert A The following diagram details the scoped insert parameters of the input channels, and shows the insert detail area in the GUI channel strip.
345 Inputs EQ A The following diagram details the scoped parametric EQ parameters of the input channels, and shows the EQ detail area in the GUI channel strip.
346 Appendix F: Parameters Affected By Scope Aux send A B C The following diagram details the scoped aux send mix section parameters of the input channels, and shows the mix detail area in the GUI channel strip. Although it only shows aux buses 1 to 8, it also applies to aux buses 9 to 32.
347 Inputs Matrix send A The following diagram details the scoped matrix send parameters in the mix section of the input channels, and shows the mix detail area in the GUI channel strip.
348 Appendix F: Parameters Affected By Scope Fader A The following diagram details the scoped fader parameters (including master routing) of the input channels, and shows the master routing detail area in the GUI channel strip.
349 Inputs A B C D E F G H Item Parameter 9 Channel name N/A Yes N/A N/A N/A N/A N/A No 10 Channel colour N/A Yes N/A N/A N/A N/A N/A No PRO2 Live Audio System Owner’s Manual
350 Appendix F: Parameters Affected By Scope Returns (Aux Returns) Each scope screen has eight returns in the Aux Returns section. Routing (A) All (B) Mic Amp (C) EQ (D) Busses (F) Mute (G) Fader (H) Patching The following diagram details the scoped patching parameters of the return channels, and shows the configuration detail area in the GUI channel strip. A B C D 1 F G H Item Parameter 1 Input patching source A B C D F G H N/A Yes1 N/A N/A N/A N/A N/A 1.
351 Returns (Aux Returns) Configuration A The following diagram details the scoped areas of the mic section in the return channels, and shows the configuration detail area in the GUI channel strip.
352 Appendix F: Parameters Affected By Scope Dynamics Not applicable. Insert Not applicable. EQ A The following diagram details the scoped parametric EQ parameters of the input channels, and shows the EQ detail area in the GUI channel strip.
353 Returns (Aux Returns) Aux send A The following diagram details the scoped parameters of the return channels, and shows the aux send mix buses (mix detail area) in the GUI channel strip.
354 Appendix F: Parameters Affected By Scope Matrix send A The following diagram details the scoped parameters in the return channels, and shows the matrix mix buses (mix detail area) in the GUI channel strip.
355 Returns (Aux Returns) Fader A The following diagram details the scoped fader (including master routing) parameters of the return channels, and shows the master routing detail area in the GUI channel strip.
356 Appendix F: Parameters Affected By Scope Auxes (Aux Sends) Each scope screen has 16 auxes in the Aux Sends section. All (B) EQ (D) Dyn (E) Busses (F) Mute (G) Fader (H) Patching B The following diagram details the scoped patching parameters of the aux channels, and shows the configuration detail area in the GUI channel strip.
357 Auxes (Aux Sends) Configuration B D E The following diagram details the scoped configuration and direct input parameters of the aux channels, and shows the configuration detail area in the GUI channel strip.
358 Appendix F: Parameters Affected By Scope Dynamics B D E The following diagram details the scoped compressor parameters of the aux channels, and shows the compressor detail area in the GUI channel strip. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
359 Auxes (Aux Sends) Insert B D E The following diagram details the scoped insert parameters of the aux channels, and shows the configuration detail area in the GUI channel strip.
360 Appendix F: Parameters Affected By Scope EQ The following diagram details the scoped parameters in the EQ section of the aux channels, and shows the EQ detail area in the GUI channel strip. B D E F G H 2 1 2 1 B D E F G H Item Parameter 1 All PEQ filters (all six bands): freq, gain, width, SHAPE (as necessary) Yes Yes N/A N/A N/A N/A 2 Parametric/Graphic type No No N/A N/A N/A N/A 3 EQ in/out Yes Yes N/A N/A N/A N/A Aux send Not applicable.
361 Auxes (Aux Sends) Matrix send B D E The following diagram details the scoped parameters in the matrix section of the aux channels, and shows the mix detail area in the GUI channel strip. Although only matrices 1 to 8 are shown below, this also applies to matrices 9 to 16.
362 Appendix F: Parameters Affected By Scope Fader B D E The following diagram details the scoped fader and master routing parameters of the aux channels, and shows the master routing detail area in the GUI channel strip.
363 Matrices Matrices Each scope screen has eight matrices in the Matrix section. All (B) EQ (D) Dyn (E) Mute (G) Fader (H) Patching B The following diagram details the scoped patching parameters of the matrix channels, and shows the configuration detail area in the GUI channel strip.
364 Appendix F: Parameters Affected By Scope Configuration B D E G The following diagram details the scoped parameters of the configuration and direct input sections of the matrices channels, and shows the configuration detail area in the GUI channel strip.
365 Matrices Dynamics B D E G The following diagram details the scoped compressor parameters of the matrix channels, and shows the compressor detail area in the GUI channel strip. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
366 Appendix F: Parameters Affected By Scope Insert B The following diagram details the scoped parameters in the insert section of the matrix channels, and shows the configuration detail area in the GUI channel strip.
367 Matrices EQ The following diagram details the scoped EQ parameters of the matrix channels, and shows the EQ detail area in the GUI channel strip. B D E G H 2 3 1 2 1 B D E G H Item Parameter 1 All PEQ filters (all six bands): freq, gain, width, SHAPE (as necessary) Yes Yes N/A N/A N/A 2 Parametric/Graphic type No No N/A N/A N/A 3 EQ in/out Yes Yes N/A N/A N/A Aux send Not applicable. Matrix send Not applicable.
368 Appendix F: Parameters Affected By Scope Fader B D E G The following diagram details the scoped fader parameters of the matrix channels, and shows the fader detail area.
369 Masters Masters Each scope screen has three master channels (stereo left and right, and mono) in the masters section. All (B) EQ (D) Dyn (E) Busses (F) Mute (G) Fader (H) Patching B D E The following diagram details the scoped patching parameters of the master channels, and shows the configuration detail area in the GUI channel strip.
370 Appendix F: Parameters Affected By Scope Configuration B D E The following diagram details the scoped parameters in the configuration and direct input section of the master channels, and shows the configuration detail area in the GUI channel strip.
371 Masters Dynamics B D E The following diagram details the scoped compressor parameters of the master channels, and shows the compressor detail area in the GUI channel strip. Although only the corrective compressor is shown below, this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
372 Appendix F: Parameters Affected By Scope Insert B The following diagram details the scoped insert parameters of the master channels, and shows the configuration detail in the GUI channel strip.
373 Masters EQ The following diagram details the scoped EQ parameters of the master channels, and shows the EQ detail area in the GUI channel strip.
374 Appendix F: Parameters Affected By Scope Matrix send B The following diagram details the scoped matrix send parameters of the master channels, and shows the mix detail area in the GUI channel strip. D E 3 1 F G 2 H 3 4 3 1/2 4 3 1 1 2 B D E F G H Item Parameter 1 Send level Yes N/A N/A Yes N/A N/A 2 Send pre-fader on/off Yes N/A N/A Yes N/A N/A 3 Send on/off Yes N/A N/A Yes N/A N/A You can scope individual bus sends.
375 Masters Fader B The following diagram details the scoped fader parameters in the masters section of master channels, and shows the fader detail area in the GUI channel strip.
376 Appendix F: Parameters Affected By Scope GEQ rack Each scope screen has a user-configurable rack of up to 28 GEQs in the Graphic EQs section. Note: A rack slot in the Graphic EQs section is equivalent to the All scope area. Patching The following diagram details the scoped patching parameters of the GEQs, which are shown on the Graphic GEQs screen (below).
377 GEQ rack GEQ The following diagram details the scoped parameters of the GEQs, and shows the GEQ window on the GUI screen.
378 Appendix F: Parameters Affected By Scope Effects rack Each scope screen has a rack of six effects in the Assignable Effects section. Note: A rack slot in the Assignable Effects section is equivalent to the All area. scope Patching The diagram right shows the scoped patching parameters of the effects, which are on the Effects tab of the To section of the Patching screen.
379 Effects rack Effects This section details the scoped parameters of the effects, and shows a typical effect window on the GUI screen.
380 Appendix F: Parameters Affected By Scope Groups Each scope screen contains eight VCA channels in the Variable Control Associates section. All (B) Mute (G) Fader (H) B The following diagram shows the scoped parameters of the VCA group channels, and shows the VCA Groups screen on the GUI. This is a GUI only function.
381 Appendix G: Parameters Affected By Automate Patching This appendix shows the patching parameters (sources) that can be changed on a per-scene basis in automation. These are only selectable when the Automate Patching option of the Preferences scene is selected (see “Using patching in automation” on page 171). Inputs The following input channel sources can be changed per scene.
382 Appendix G: Parameters Affected By Automate Patching Auxes The source of each aux channel can be changed per scene. Item Parameter 1 Insert return source 2 Direct in source 3 Compressor side chain source 2 3 1 Compressor detail area Configuration detail area Matrices The destinations/sources of each matrix channel can be changed per scene.
383 Masters Masters The destinations/sources of each master channel can be changed per scene. Item Parameter 1 Insert return source 2 Direct in source 3 Compressor side chain source 2 3 1 Configuration detail area Effects Effect input sources can be changed per scene. These are located on the Effects tab of the To section of the Patching screen (shown right).
384 Appendix G: Parameters Affected By Automate Patching System devices Sources for the outputs of external devices, such as the DL451 Modular I/O and DN9696 Recorder, etc., can be changed per scene. The sources are selectable via the Stage I/O and FOH I/O tabs in To section of the Patching screen (see Chapter 8 "Patching" on page 47). However, this does not include the I/O card configuration. Monitors The following monitor sources can be changed per scene.
385 Appendix H: Parameters Protected By Safes This appendix shows the parameters affected/unaffected by each of the safe types (EQ, DYN, MIC, AUTO, MUTE and FADER). Note: The parameter areas for the scopes (store and recall) and the safes are, basically the same. However, the way they are presented in their respective appendices is different.
386 Appendix H: Parameters Protected By Safes Inputs The input safes are selected via the input channel safes section of the input channel strip in each input bay (control surface) or the configuration detail area of the GUI channel strip.
387 Inputs Input parameters not affected by the safes The following input channel parameters are not affected by any of the safes.
388 Appendix H: Parameters Protected By Safes EQ safe The following diagram details the parameters in the inputs affected by the EQ safe, and shows the EQ detail area in the GUI channel strip.
389 Inputs Item Control(s) Parameter 5 SHAPE switch Selects treble shelving mode: parametric, bright, classic or soft 6 SHAPE switch Selects bass shelving mode: parametric, deep, classic or warm 7 SLOPE switch, high pass control knob, /[IN] switch High pass filter 8 SLOPE switch, low pass control knob, /[IN] switch Low pass filter 9 C/O switch Order of processing: Dyn.JIns.JEQ or EQJIns.JDyn.
390 Appendix H: Parameters Protected By Safes DYN (dynamic) safe The following diagram details the parameters in the inputs protected by DYN safe.
391 Inputs Item Control Parameter 4 gain/[make up] control knob Compressor make up gain 5 attack control knob? Compressor attack 6 ratio/range/[ratio] control knob Compressor ratio 7 MODE pushbutton Compressor mode: corrective (shown above), adaptive, creative or vintage 8 KNEE pushbutton Compressor knee: hard, medium or soft 9 IN switch Compressor sidechain in/out 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or
392 Appendix H: Parameters Protected By Safes MIC safe? The following diagram details the parameters in the inputs protected by MIC safe.
393 Inputs * Item Control Parameter 1 stage box control knob* Gain of remote amplifier 2 48V switch 48V phantom gain 3 30Hz switch 30Hz filter 4 gain trim control knob* Digital input trim 5 Delay control knob Delay time 6 Ø switch Input phase invert on/off 7 Level control knob Direct output level 8 MODE switch Direct output tap-off point: “Post-fade and mute”, “Pre-mute, pre-processing” or “Pre-mute, postprocessing” 9 dest button, text field Direct output tap-off point 10 I
394 Appendix H: Parameters Protected By Safes MUTE safe The following diagram details the parameters in the inputs protected by MUTE safe, and shows the master routing detail area in the GUI channel strip.
395 Inputs FADER safe The following diagram details the parameters in the inputs protected by FADER safe, and shows the master routing detail area in the GUI channel strip.
396 Appendix H: Parameters Protected By Safes Auxes (Aux Sends) The aux safes are selected via the output channel safes section of the output channel strip in the mix bay (control surface) and the configuration detail area of the GUI channel strip.
397 Auxes (Aux Sends) Aux parameters not affected by the safes The following shows you which parameters are not affected by each safe.
398 Appendix H: Parameters Protected By Safes Item Control Parameter 1 SOLO B/[B] switch Solo B on/off 2 SOLO switch Solo on/off 3 FADER/[FDR] switch Fader safe on/off 4 MUTE/[MTE] switch Mute safe on/off 5 AUTO/[AUT] switch Automation safe on/off 6 EQ switch EQ safe on/off 7 DYN switch Dynamic safe on/off 8 MIC switch Mic safe on/off 9 SOLO switch Direct input solo on/off 10 SOLO B/[B] switch Direct input solo B on/off 11 LINK switch Stereo linking on/off 12 Field GE
399 Auxes (Aux Sends) EQ safe The following diagram details the parameters in the auxes protected by the EQ safe, and shows the EQ detail area in the GUI channel strip and the GEQ window on the GUI screen.
400 Appendix H: Parameters Protected By Safes 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Selects low pass filter as 6dB or 12dB 8 Q switch Selects Q mode as proportional (PROP.) or constant (CON.
401 Auxes (Aux Sends) DYN (dynamic) safe The following diagram details the parameters in the auxes protected by the DYN safe, and shows the compressor detail area in the GUI channel strip. Only the corrective compressor is shown, but this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
402 Appendix H: Parameters Protected By Safes Item Control Parameter 7 WIDTH pushbutton Compressor sidechain width (unlabelled): 2 Oct, 1 Oct or 0.
403 Auxes (Aux Sends) MUTE safe The following diagram details the parameters of the auxes protected by MUTE safe, and shows the master routing detail area in the GUI channel strip.
404 Appendix H: Parameters Protected By Safes FADER safe The following diagram details the parameters of the auxes protected by FADER safe, and shows the configuration detail area and master routing detail area??????? in the GUI channel strip.
405 Returns (Aux Returns) Item Control Parameter 1 Fader Fader level 2 ST switch Stereo routing 3 MON switch Mono routing 4 SIS switch Spatial imaging system in/out 5 Panning control knobs Surround sound panning (includes all surround parameters) 6 bus trim control knob Bus trim level 7 MODE switch Bus mode 8 delay control knob Delay time Returns (Aux Returns) The return safes are selected via the output channel safes section of the output channel strip in the mix bay (control s
406 Appendix H: Parameters Protected By Safes Return parameters not affected by the safes The following shows you which parameters are not affected by each safe.
407 Returns (Aux Returns) EQ safe Not applicable. DYN (dynamic) safe Not applicable. MIC safe The following diagram details the parameters in the returns protected by MIC safe, which are accessible via the DL431 Mic Splitter configuration (see “Configuring the devices” on page 60). DL431 Mic Splitter input card 1 3 Item Control Parameter 1 Stage box control knob Mic gain 2 48V switch 48V phantom gain in/out 3 Flt switch 30Hz filter1 in/out 4 Input zone switch Input zone in/out 1.
408 Appendix H: Parameters Protected By Safes AUTO (automation) safe All of the return channel parameters are protected by AUTO (automation) safe — except, of course, for the ones unaffected by the safes (see “Return parameters not affected by the safes” on page 406). MUTE safe The following diagram details the parameters of the returns protected by MUTE safe, and shows the master routing detail area in the GUI channel strip.
409 Returns (Aux Returns) FADER safe The following diagram details the parameters of the returns protected by FADER safe, and shows the master routing detail area in the GUI channel strip.
410 Appendix H: Parameters Protected By Safes Matrices The matrix safes are selected via the output channel safes section of the output channel strip in the mix bay (control surface) and the configuration detail area of the GUI channel strip.
411 Matrices Matrix parameters not affected by the safes The following shows you which parameters are not affected by each safe.
412 Appendix H: Parameters Protected By Safes Item Control Parameter 1 SOLO B/[B] switch Solo B on/off 2 SOLO switch Solo on/off 3 MIC switch Mic safe on/off 4 FADER/[FDR] switch Fader safe on/off 5 MUTE/[MTE] switch Mute safe on/off 6 AUTO/[AUT] switch Automation safe on/off 7 EQ switch EQ safe on/off 8 DYN switch Dynamic safe on/off 9 SOLO switch Direct input solo on/off 10 SOLO B/[B] switch Direct input solo B on/off 11 LINK switch Stereo linking on/off 12 Field GE
413 Matrices EQ safe The following diagram details the parameters in the matrices protected by the EQ safe, and shows the EQ detail area in the GUI channel strip and the GEQ window on the GUI screen.
414 Appendix H: Parameters Protected By Safes 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Selects low pass filter as 6dB or 12dB 8 Q switch Selects Q mode as proportional (PROP.) or constant (CON.
415 Matrices DYN (dynamic) safe The following diagram details the parameters in the matrices protected by the DYN safe, and shows the compressor detail area in the GUI channel strip. Only the corrective compressor is shown, but this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
416 Appendix H: Parameters Protected By Safes Item Control Parameter 6 freq. control knob Compressor sidechain frequency 7 WIDTH pushbutton Compressor sidechain width selector: 2 Oct, 1 Oct and 0.
417 Matrices AUTO (automation) safe All of the matrix channel parameters are protected by AUTO (automation) safe — except, of course, for the ones unaffected by the safes (see “Matrix parameters not affected by the safes” on page 411). MUTE safe The following diagram details the parameters of the matrices protected by MUTE safe, and shows the master routing detail area in the GUI channel strip.
418 Appendix H: Parameters Protected By Safes FADER safe The following diagram details the parameters of the matrices protected by FADER safe, and shows the master routing detail area in the GUI channel strip.
419 Masters Masters The master safes are selected via the output channel safes section of the output channel strip in the mix bay (control surface) and the configuration detail area of the GUI channel strip.
420 Appendix H: Parameters Protected By Safes Master parameters not affected by the safes The following shows you which parameters are not affected by each safe.
421 Masters Item Control Parameter 1 SOLO B/[B] switch Solo B on/off 2 SOLO switch Solo on/off 3 MIC switch Mic safe on/off 4 FADER/[FDR] switch Fader safe on/off 5 MUTE/[MTE] switch Mute safe on/off 6 AUTO/[AUT] switch Automation safe on/off 7 EQ switch EQ safe on/off 8 DYN switch Dynamic safe on/off 9 SOLO switch Direct input solo on/off 10 SOLO B/[B] switch Direct input solo B on/off 11 LINK switch Stereo linking 12 Field GEQ assignment PRO2 Live Audio System Owne
422 Appendix H: Parameters Protected By Safes EQ safe The following diagram details the EQ parameters protected by the EQ safe, and shows the EQ detail area in the GUI channel strip and the GEQ window on the GUI screen.
423 Masters 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Selects low pass filter as 6dB or 12dB 8 Q switch Selects Q mode as proportional (PROP.) or constant (CON.
424 Appendix H: Parameters Protected By Safes DYN (dynamic) safe The following diagram details the parameters in the masters protected by the DYN safe, and shows the compressor detail area in the GUI channel strip. Only the corrective compressor is shown, but this is typically the same for the other compressor modes (adaptive, creative, vintage and shimmer).
425 Masters Item Control Parameter 6 freq control knob Compressor sidechain frequency 7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.
426 Appendix H: Parameters Protected By Safes MUTE safe The following diagram details the parameters of the masters protected by MUTE safe, and shows the master routing det?ail area in the GUI channel strip.
427 Masters FADER safe The following diagram details the parameters of the masters protected by FADER safe, and shows the master routing detail area in the GUI channel strip.
428 Appendix H: Parameters Protected By Safes Groups The group safes — mute and fader — are selected via the VCA Groups screen of the GUI (shown below). EQ safe Not applicable. Dynamic safe Not applicable. Mic safe Not applicable.
429 Groups Automation safe The following diagram shows the parameters of the VCA groups protected by the AUT (auto) safe.
430 Appendix H: Parameters Protected By Safes Mute (MTE) safe The following diagram shows the parameters of the VCA groups protected by the MTE (mute) safe. 1 1 Item Control Parameter 1 MUTE switch Mute on/off Fader (FDR) safe The following diagram shows the parameters of the VCA groups protected by FDR (fader) safe.
431 Appendix I: Parameters Affected By Copy And Paste This appendix shows the input and output channel parameters affected by copy and paste operations, which are selected via the copy and paste buttons on the GUI (see “Using copy and paste” on page 87). The structure of this appendix is intended to follow the way that copy and paste operates, that is, by channel or detail area. Overview The following table provides a quick reference for finding the copy and paste parameters per channel in this appendix.
432 Appendix I: Parameters Affected By Copy And Paste Inputs This section shows you which input channel parameters are affected by copy and paste. Configuration The following diagram shows the parameters of the configuration detail area affected by copy and paste.
433 Inputs Compressor This section shows the compression parameters of the dynamics section affected by copy and paste. 7 1 2 3 5 2 6 4 8 9 10 11 7 3 1 5 2 12 6 8 4 9 10 11 Note: Only the corrective compressor is shown above, but this is typically the same for the other compressor modes (adaptive, creative and vintage).
434 Appendix I: Parameters Affected By Copy And Paste Item Control Parameter 6 ratio/range/[ratio] control knob Compressor ratio 7 MODE pushbutton Compressor mode selector: corrective (shown above), adaptive, creative and vintage 8 KNEE pushbutton Compressor knee: hard, medium or soft 9 IN switch Compressor sidechain in/out 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.
435 Inputs Item Control Parameter 1 ON switch Gate on/off 2 threshold control knob Gate threshold 3 release control knob Gate release 4 attack control knob Gate attack 5 range control knob Gate range 6 hold control knob Gate hold 7 IN switch Gate sidechain in/out 8 freq control knob Gate sidechain frequency 9 WIDTH pushbutton Gate sidechain width: 2 Oct, 1 Oct or 0.
436 Appendix I: Parameters Affected By Copy And Paste EQ This section shows all the parameters of the EQ section affected by copy and paste.
437 Inputs Item Control Parameter 5 SHAPE switch Treble shelving mode: parametric, bright, classic or soft 6 SHAPE switch Bass shelving mode: parametric, deep, classic or warm 7 high pass control knob High pass filter frequency 8 low pass control knob Low pass filter frequency 9 /[IN] switch High pass filter in/out 10 /[IN] switch Low pass filter in/out 11 PRO2 Live Audio System Owner’s Manual C/O switch To swap the order of processing
438 Appendix I: Parameters Affected By Copy And Paste Bus sends This section shows the parameters of the mix sections affected by copy and paste. 1 2 3 1 4 3 As per bus sends 1-2 above 1 3 2 1 3 2 5 6 As per bus sends 1-2 above Note: Only matrix sends 1 to 8 are shown above, but a copy/paste operation affects all aux and matrix sends.
439 Inputs Master routing This section shows all the parameters of the master routing affected by copy and paste.
440 Appendix I: Parameters Affected By Copy And Paste Aux This section shows you which aux channel parameters are affected by copy and paste. Configuration The following diagrams show the configuration parameters affected by copy and paste.
441 Aux Compressor This section shows all the compression parameters of the dynamics section affected by copy and paste. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
442 Appendix I: Parameters Affected By Copy And Paste Item Control Parameter 8 ratio/range control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Gate Not applicable. EQ (GEQ) This section shows all the parameters of the EQ section, including the GEQ, affected by copy and paste.
443 Aux Item Control Parameter 6 SHAPE switch Band 2 shelving mode: bell or high pass 24dB 7* SHAPE switch Band 6 shelving mode: bell, soft, low pass 6dB or low pass 12dB * Not shown in diagram. Note: Although bands 5 and 6 are not shown above, the items in the table also apply. Both bands have items 2, 3 and 4, and band 6 also has item 7.
444 Appendix I: Parameters Affected By Copy And Paste Bus sends This section shows the parameters of the mix buses affected by copy and paste. 1 2 3 1 4 3 1 3 2 1 3 2 5 6 Note: Although only matrix sends 1-2 are referenced above, this also applies to all 16 matrix sends.
445 Aux Master routing This section shows all the parameters of the master routing section affected by copy and paste.
446 Appendix I: Parameters Affected By Copy And Paste Return This section shows you which return channel parameters are affected by copy and paste. Configuration The following diagrams show the configuration parameters affected by copy and paste. Channel of the DL451 Modular I/O analogue input card DL431 Mic Splitter input card 1 1 2 Item Control Parameter 1 Stage box control knob Gain of remote amplifier 2 st. linking options button Stereo linking options Compressor Not applicable.
447 Return Bus sends This section shows the return parameters of the mix sections affected by copy and paste. 1 2 3 1 4 3 1 3 2 1 3 2 Note: Although only matrix sends 1-2 are referenced above, this applies to all 16 matrix sends.
448 Appendix I: Parameters Affected By Copy And Paste Master routing This section shows all the parameters of the master routing affected by copy and paste.
449 Matrix Matrix This section shows you which matrix channel parameters are affected by copy and paste. Configuration The following diagram shows the configuration parameters affected by copy and paste. 6 1 2 3 4 5 6 Item Control Parameter 1 bus trim control knob Bus trim level 2 level control knob Direct input level 3 SOLO B/[B] switch Direct input solo B on/off 4 MODE/[PRE] switch Direct input pre- in/out 5 delay control knob Delay time 6 C/O switch Order of processing: Dyn.
450 Appendix I: Parameters Affected By Copy And Paste Compressor This section shows all the compression parameters of the dynamics section affected by copy and paste. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
451 Matrix Item Control Parameter 7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3 Oct 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Gate Not applicable.
452 Appendix I: Parameters Affected By Copy And Paste EQ (GEQ) This section shows all the parameters of the EQ section (including the GEQ where appropriate) affected by copy and paste.
453 Matrix 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Low pass filter: 6dB or 12dB 8 Q switch Q mode as proportional (PROP.) or constant (CON.
454 Appendix I: Parameters Affected By Copy And Paste Fader section This section shows all the parameters of the master routing affected by copy and paste.
455 Master Master This section shows you which master channel parameters are affected by copy and paste. Configuration The following diagrams show the configuration parameters affected by copy and paste.
456 Appendix I: Parameters Affected By Copy And Paste Compressor This section shows the compression parameters of the dynamics section affected by copy and paste. Only corrective compressor shown below, but typically the same for the other compressor modes.
457 Master Item Control Parameter 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Gate Not applicable.
458 Appendix I: Parameters Affected By Copy And Paste EQ (GEQ) This section shows all the parameters of the EQ section (including the GEQ where appropriate) affected by copy and paste.
459 Master 2 1 3 4 5 6 7 13 12 11 10 9 8 Item Control Parameter 1 31 faders Fader positions 2 High pass filter control knob High pass filter cut off frequency 3 IN switch High pass filter in/out 4 Low pass filter control knob Low pass filter cut off frequency 5 IN switch Low pass filter in/out 6 EQ switch EQ in/out 7 SLOPE switch Low pass filter: 6dB or 12dB 8 Q switch Q mode as proportional (PROP.) or constant (CON.
460 Appendix I: Parameters Affected By Copy And Paste Master routing This section shows all the parameters of the master routing affected by copy and paste.
461 Appendix J: Parameters Affected By Stereo Linking This appendix shows the parameters that are linked per option (selectable globally and per pair). Overview The following table shows which parameters are copied across the channels per control area.
462 Appendix J: Parameters Affected By Stereo Linking Input Channels This section shows the linked parameters of the input channels. Input controls The following diagram shows the input control parameters that are linked across the channel pair. 2 2 1 2 1 4 1 3 4 * Item Control Parameter 1 gain trim control knob Digital trim level 2 48V switch* 48V phantom voltage on/off 3 30Hz switch 30Hz filter in/out 4 C/O switch* Order of processing: Dyn.JIns.JEQ or EQJIns.JDyn.
463 Input Channels Direct output The following diagram shows the direct output control parameters that are linked across the channel pair. 1 2 3 Item Control Parameter 1 level control knob Direct output level 2 SOLO B/[B] control knob Direct output solo B in/out 3 MODE pushbutton Direct output tap-off point: “Post-fade and mute”, “Pre-mute, pre-processing” or “Pre-mute, postprocessing” Direct input Not applicable.
464 Appendix J: Parameters Affected By Stereo Linking Filters This section shows the parameters of the filters section affected by stereo linking.
465 Input Channels Dynamics This section shows the compressor and gate parameters of the dynamics section affected by stereo linking. 7 1 2 12 13 3 5 2 6 4 8 9 10 15 14 11 17 13 16 18 19 20 Input compressor detail area 7 Input gate detail area 3/14 1 5/15 17 2/13 12 8 6/16 4 9/18 10/19 11/20 Note: Only the corrective compressor is shown above, but this is typically the same for the other compressor modes (adaptive, creative and vintage).
466 Appendix J: Parameters Affected By Stereo Linking Item Control Parameter 5 attack control knob Compressor attack 6 ratio/range/[ratio] control knob Compressor ratio 7 MODE pushbutton Compressor mode: corrective, adaptive, creative or vintage 8 KNEE pushbutton Compressor knee: hard, medium or soft 9 IN switch Compressor sidechain in/out 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.
467 Input Channels Insert This section shows the parameters of the insert section affected by stereo linking.
468 Appendix J: Parameters Affected By Stereo Linking EQ The following diagram shows the EQ parameters affected by stereo linking.
469 Input Channels Bus sends The following diagram shows the input bus sends affected by stereo linking, and applies to the 16 auxes and eight matrices. 1 2 3 1 4 3 As per bus sends 1-2 above 1 3 2 1 3 2 5 6 As per bus sends 1-2 above Note: Only matrix sends 1 to 8 are shown above, but this is typically the same for all of the bus sends (eight matrices and 16 auxes). Item Control Parameter 1 ON switch Bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked.
470 Appendix J: Parameters Affected By Stereo Linking Item Control Parameter 5 On switch Aux bus send on/off — only available when aux bus is in group mode 6 MINUS switch Aux bus send mute on/off — only available when aux bus is in mix minus mode Master routing This section shows the parameters of the master routing affected by stereo linking.
471 Input Channels Fader This section shows the fader parameters affected by stereo linking. 1 3 4 1 4 2 3 2 1 4 2 Item Control Parameter 1 mono level/SIS image control knob Mono send level. (Only linked when SIS is out on both channels and surround mode is not selected.
472 Appendix J: Parameters Affected By Stereo Linking Delay The following diagram shows the delay parameters affected by stereo linking.
473 Input Channels Mute The following diagram shows the mute parameters affected by stereo linking.
474 Appendix J: Parameters Affected By Stereo Linking Aux Returns This section shows the linked parameters of the return channels. Input controls This section shows the parameters of the input controls affected by stereo linking.
475 Aux Returns Dynamics Not applicable. Insert This section shows the parameters of the insert section affected by stereo linking.
476 Appendix J: Parameters Affected By Stereo Linking EQ The following diagram shows the EQ parameters affected by stereo linking.
477 Aux Returns Bus sends The following diagram shows the bus sends affected by stereo linking. 1 2 3 1 4 3 1 3 2 1 3 2 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends. Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (The pans are not linked, only the sends levels are linked.
478 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the parameters of the master routing affected by stereo linking.
479 Aux Returns Fader This section shows the fader parameters affected by stereo linking. 1 1 3 4 3 2 2 2 Item Control Parameter 1 mono level/SIS image control knob Mono send level. (Only linked when SIS is out on both channels and surround mode is off.
480 Appendix J: Parameters Affected By Stereo Linking Delay The following diagram shows the delay parameters affected by stereo linking.
481 Aux Returns Mute This section shows the mute parameters affected by stereo linking.
482 Appendix J: Parameters Affected By Stereo Linking Aux Sends This section shows the linked parameters of the aux channels. Input controls The following diagram shows the input control parameters that are linked across the channel pair. 1 2 2 Item Control Parameter 1 bus trim control knob Bus trim level 2 C/O switch Order of processing: Dyn.JIns.JEQ or EQJIns.JDyn. Direct output Not applicable.
483 Aux Sends Direct input The following diagram shows the direct output control parameters that are linked across the aux channel pair. 1 2 3 Item Control Parameter 1 level control knob Direct input level 2 SOLO B/[B] switch Direct input solo B on/off 3 MODE/[PRE] switch Direct input pre- in/out Filters Not applicable.
484 Appendix J: Parameters Affected By Stereo Linking Dynamics This section shows the compression parameters of the dynamics section affected by stereo linking. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
485 Aux Sends Item Control Parameter 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Insert This section shows the parameters of the insert section affected by stereo linking.
486 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the EQ and GEQ parameters affected by stereo linking.
487 Aux Sends Bus sends The following diagram shows the bus sends affected by stereo linking. 1 2 3 1 4 3 1 3 2 1 3 2 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends. Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (The pans are not linked, only the sends levels are linked.
488 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the master routing parameters affected by stereo linking.
489 Aux Sends Fader This section shows the fader parameters affected by stereo linking. 3 2 4 3 4 2 1 1 3 1 4 Item Control Parameter 1 Fader Level 2 SOLO B/[B] Solo B on/off 3 mono level/SIS image control knob Mono send level. (Only linked when SIS is out on both channels and surround mode is not selected.
490 Appendix J: Parameters Affected By Stereo Linking Delay The following diagram shows the delay parameters affected by stereo linking.
491 Aux Sends Mute This section shows the mute parameters affected by stereo linking.
492 Appendix J: Parameters Affected By Stereo Linking Matrix This section shows the linked parameters of the matrix channels. Input controls The following diagram shows the input control parameters that are linked across the matrix channel pair. 2 1 2 Item Control Parameter 1 Control knob Bus trim level 2 C/O switch Order of processing: Dyn.JIns.JEQ or EQJIns.JDyn. Direct output Not applicable.
493 Matrix Direct input The following diagram shows the direct input control parameters that are linked across the matrix channel pair. 1 2 3 4 Item Control Parameter 1 level control knob Direct input level 2 SOLO B/[B] switch Direct input solo B on/off 3 MODE/[PRE] switch Direct input pre- in/out 4 input zone switch Input zone in/out Filters Not applicable.
494 Appendix J: Parameters Affected By Stereo Linking Dynamics This section shows the compressor parameters affected by stereo linking. Only corrective compressor shown below, but this is typically the same for the other compressor modes.
495 Matrix Item Control Parameter 7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3 Oct 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Insert This section shows the parameters of the insert section affected by stereo linking.
496 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the parameters of the EQ section affected by stereo linking. 8 4 2 3 1 4 2 3 4 5/6/7 4 6 2 3 1 2 3 4 5 2 3 Item Control Parameter 1 EQ switch EQ on/off 2 gain control knob EQ gain level 3 width control knob EQ width 4 freq.
497 Matrix Bus sends Not applicable. Master routing Not applicable. Fader This section shows the fader parameters affected by stereo linking.
498 Appendix J: Parameters Affected By Stereo Linking Delay The following diagram shows the delay parameters affected by stereo linking.
499 Matrix Mute This section shows the mute parameters affected by stereo linking.
500 Appendix J: Parameters Affected By Stereo Linking Masters This section shows the linked parameters of the master channels. Input controls The following diagram shows the input control parameters that are linked across the master channel pair. 2 1 2 Item Control Parameter 1 Control knob Bus trim level 2 C/O switch Order of processing: Dyn.JIns.JEQ or EQJIns.JDyn. Direct output Not applicable.
501 Masters Direct input The following diagram shows the direct output control parameters that are linked across the master channel pair. 1 2 3 4 Item Control Parameter 1 level control knob Direct input level 2 SOLO B/[B] switch Direct input solo B on/off 3 MODE/[PRE] switch Direct input pre- in/out 3 input zone switch Input zone in/out Filters Not applicable.
502 Appendix J: Parameters Affected By Stereo Linking Dynamics This section shows all the compression parameters of the dynamics section affected by stereo linking. Only corrective compressor shown below, but typically the same for the other compressor modes.
503 Masters Item Control Parameter 7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3 Oct 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Insert This section shows the parameters of the insert section affected by stereo linking.
504 Appendix J: Parameters Affected By Stereo Linking EQ This section shows the parameters of the EQ section affected by stereo linking. 8 4 2 3 1 4 2 3 4 5/6/7 4 6 2 3 1 2 3 4 5 2 3 Item Control Parameter 1 EQ switch EQ on/off 2 gain control knob EQ gain level 3 width control knob EQ width 4 freq.
505 Masters Bus sends The following diagram shows the bus sends affected by stereo linking. 1 2 3 1 4 3 1 3 2 1 3 2 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends. Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked. (The pans are not linked, only the sends levels are linked.
506 Appendix J: Parameters Affected By Stereo Linking Master routing This section shows the master routing parameters affected by stereo linking. 1 1 Item Control Parameter 1 SIS switch Spatial imaging system on/off. (Only available if one of the surround modes is selected.
507 Masters Fader This section shows the fader parameters affected by stereo linking.
508 Appendix J: Parameters Affected By Stereo Linking Delay The following diagram shows the delay parameters affected by stereo linking.
509 Masters Mute This section shows the mute parameters affected by stereo linking.
510 Appendix J: Parameters Affected By Stereo Linking PRO2 Live Audio System Owner’s Manual
511 Appendix K: Parameters Copied Through Scenes This appendix shows the parameters per section — selected from the Sections panel in the Show Editor screen (shown below) — that can be copied through scenes.
512 Appendix K: Parameters Copied Through Scenes Inputs (input channels) This section shows you which parameters for each of the 96 input channels are affected by copy through scenes. Config sections The following diagram shows the parameters of the input channel configuration detail area copied through scenes.
513 Inputs (input channels) Comp./Output Dyn The following diagram shows the input channel compressor parameters copied through scenes. 7 1 2 3 5 2 6 4 8 9 10 11 7 3 1 5 2 12 6 8 4 9 10 11 Note: Only the corrective compressor is shown above, but this is typically the same for the other compressor modes (adaptive, creative and vintage).
514 Appendix K: Parameters Copied Through Scenes Item Control Parameter 6 ratio control knob Compressor ratio 7 MODE pushbutton Compressor mode: corrective, adaptive, creative or vintage 8 KNEE pushbutton Compressor knee: hard, medium or soft 9 IN switch Compressor sidechain in/out 10 freq control knob Compressor sidechain frequency 11 WIDTH pushbutton Compressor sidechain: 2 Oct, 1 Oct or 0.
515 Inputs (input channels) Gates The following diagram shows the input channel gate parameters copied through scenes.
516 Appendix K: Parameters Copied Through Scenes EQs The following diagram shows the EQ parameters copied through scenes.
517 Inputs (input channels) Item Control Parameter 6 SHAPE switch Bass: parametric, deep, classic or warm 7 SLOPE pushbutton Low pass filter slope 6dB or 12dB 8 low pass control knob Low pass filter frequency 9 /[IN] switch Low pass filter in/out 10 /[IN] switch High pass filter in/out 11 high pass control knob High pass filter frequency 12 SLOPE pushbutton High pass filter slope 12dB or 24dB PRO2 Live Audio System Owner’s Manual
518 Appendix K: Parameters Copied Through Scenes Aux Sends (1 to 16) This section shows the parameters of the mix sections copied through scenes. 1 2 3 1 4 3 As per bus sends 1-2 above 1 3 2 1 3 4 5 6 As per bus sends 1-2 above Note: Only aux sends 1 to 8 are shown above, but this is typically the same for all of the 16 aux sends.
519 Inputs (input channels) Matrix Sends (1 to 8) This section shows the parameters of the mix sections copied through scenes.
520 Appendix K: Parameters Copied Through Scenes Fader Sections This section shows all the parameters of the master routing that are copied through scenes.
521 Inputs (input channels) Item Control Parameter 8 B button Solo B in/out 9 Field Channel name Recall Scope See “Inputs” on page 339. Store Scope See “Inputs” on page 339. Routing The following diagram shows the input channel routing parameters copied through scenes.
522 Appendix K: Parameters Copied Through Scenes Aux Returns (return channels) This section shows you which parameters for each of the eight return channels are affected by copy through scenes. Config sections The following diagram shows the parameters of the configuration detail area copied through scenes.
523 Aux Returns (return channels) EQs The following diagram shows the EQ parameters copied through scenes.
524 Appendix K: Parameters Copied Through Scenes Aux Sends (1 to 16) The following diagram shows the parameters of the mix detail area copied through scenes. 1 2 3 1 4 3 1 3 2 1 3 4 Note: Although only aux sends 1-2 are referenced above, this also applies to all 16 aux sends.
525 Aux Returns (return channels) Matrix Sends (1 to 8) The following diagram shows the parameters of the mix detail area copied through scenes. 1 2 3 1 4 3 1 3 2 1 3 4 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends.
526 Appendix K: Parameters Copied Through Scenes Fader Sections The following diagram shows the parameters of the master routing detail area copied through scenes.
527 Aux Returns (return channels) Recall Scope For details, see “Returns (Aux Returns)” on page 350. Store Scope For details, see “Returns (Aux Returns)” on page 350. Routing The following diagram shows the return channel routing parameters copied through scenes.
528 Appendix K: Parameters Copied Through Scenes Aux Sends (aux channels) This section shows you which parameters for each of the 32 aux channels are affected by copy through scenes. Config sections The following diagram shows the parameters of the configuration detail area copied through scenes.
529 Aux Sends (aux channels) Comp./Output Dyn The following diagram shows the parameters of the compressor detail area copied through scenes. Only corrective compressor shown below, but typically the same for the other compressor modes.
530 Appendix K: Parameters Copied Through Scenes Item Control Parameter 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Gates Not applicable.
531 Aux Sends (aux channels) EQs The following diagram shows the EQ parameters copied through scenes. 8 4 3 1 3 4 3 4 5/6/7 4 3 1 2 4 2 6 2 5 2 8 2 3 Item Control Parameter 1 EQ switch EQ on/off 2 gain control knob EQ gain level 3 width control knob EQ width 4 freq control knob EQ frequency 5 SHAPE switch Band 1 shelving mode: parametric, warm, high pass 6dB or high pass 12dB. (This band is not available if band 2 is selected as high pass 24dB.
532 Appendix K: Parameters Copied Through Scenes Matrix Sends (1 to 8) The following diagram shows the parameters of the mix detail area copied through scenes. 1 2 3 1 4 3 1 3 2 1 3 4 Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends.
533 Aux Sends (aux channels) Fader Sections The following diagram shows the parameters of the master routing detail area copied through scenes.
534 Appendix K: Parameters Copied Through Scenes Recall Scope For details, see “Auxes (Aux Sends)” on page 356. Store Scope For details, see “Auxes (Aux Sends)” on page 356. Routing The following diagram shows the aux channel routing parameters copied through scenes. 3 1 2 * Item Control Parameter 1 INS switch Insert in/out 2 Field Insert return source* 3 Field Direct input source* Only automated when automate patching is on.
535 Matrix (matrix channels) Matrix (matrix channels) This section shows you which parameters for each of the eight matrix channels are affected by copy through scenes. Config sections The following diagram shows the parameters of the configuration detail area copied through scenes.
536 Appendix K: Parameters Copied Through Scenes Item Control Parameter 13 Graphic Order of processing 14 Field Direct input source Comp./Output Dyn The following diagram shows the parameters of the compressor detail area copied through scenes. Only corrective compressor shown below, but typically the same for the other compressor modes.
537 Matrix (matrix channels) Item Control Parameter 4 KNEE pushbutton Compressor knee: hard, medium or soft 5 IN switch Compressor sidechain in/out 6 freq control knob Compressor sidechain frequency 7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.
538 Appendix K: Parameters Copied Through Scenes EQs The following diagram shows the parameters of the EQ detail area copied through scenes.
539 Matrix (matrix channels) Fader Sections The following diagram shows the parameters of the master routing detail area copied through scenes.
540 Appendix K: Parameters Copied Through Scenes Recall Scope For details, see “Matrices” on page 363. Store Scope For details, see “Matrices” on page 363. Routing The following diagram shows the matrix channel routing parameters copied through scenes. 3 1 2 * Item Control Parameter 1 INS switch Insert in/out 2 Field Insert return source* 3 Field Direct input source* Only automated when automate patching is on.
541 GEQs GEQs You can copy the control settings of any of the GEQs through scenes. Only the Recall Scope and Store Scope options in the Sections area of the Show Editor screen are applicable to this option.
542 Appendix K: Parameters Copied Through Scenes VCA/POPulation (groups) You can copy the group membership allocation of the VCA and Groups through scenes. None of the options in the Sections area are applicable to this option. Masters (master channels) This section shows you which parameters for each of the three master channels (mono and stereo left and stereo right) are affected by copy through scenes.
543 Masters (master channels) Comp./Output Dyn The following diagram shows the parameters of the compressor detail area copied through scenes. Only corrective compressor shown below, but typically the same for the other compressor modes.
544 Appendix K: Parameters Copied Through Scenes Item Control Parameter 7 WIDTH pushbutton Compressor sidechain width: 2 Oct, 1 Oct or 0.3 Oct 8 ratio control knob Compressor ratio 9 attack control knob Compressor attack 10 MODE pushbutton Compressor mode: corrective, adaptive, creative, vintage or shimmer 11 make up control knob Compressor gain Gates Not applicable.
545 Masters (master channels) EQs The following diagram shows the parameters of the EQ detail area copied through scenes.
546 Appendix K: Parameters Copied Through Scenes Matrix Sends (1 to 8) The following diagram shows the parameters of the mix detail area copied through scenes. 1 2 3 1 4 3 1 3 2 1 3 2 Item Control Parameter 1 ON switch Matrix bus send on/off 2 level/pan control knob Bus level, or pan when bus is linked 3 PRE switch Pre-fader on/off 4 level control knob Bus level Note: Although only matrix sends 1-2 are referenced above, this also applies to all eight matrix sends.
547 Masters (master channels) Fader Sections The following diagram shows the parameters of the master routing detail area copied through scenes.
548 Appendix K: Parameters Copied Through Scenes Store Scope For details, see “Masters” on page 369. Routing The following diagram shows the master channel routing parameters copied through scenes. 3 1 2 * Item Control Parameter 1 INS switch Insert in/out 2 Field Insert return source* 3 Field Direct input source* Only automated when automate patching is on.
Misc (miscellaneous) 549 Misc (miscellaneous) The Misc section has an Assignables option, which lets you copy the current control assignments of the Assignable Controls window through scenes. (The levels are not copied.) None of the options in the Sections area are applicable to this option. For more information on assignable controls, see Chapter 19 "Assignable Controls" on page 153.
550 Appendix K: Parameters Copied Through Scenes PRO2 Live Audio System Owner’s Manual
551 Appendix L: Service Information The service manual for this equipment is available for purchase. Please contact your local distributor for details. Electrostatic discharge (ESD) precautions Observe full electrostatic discharge (ESD) — also known as “anti-static” — precautions when carrying out procedures in this manual that are accompanied by the ESD Susceptibility Symbol (shown above).
552 Appendix L: Service Information Cleaning the GUI screen Switch off the control centre and electrically isolate it from the mains before cleaning. Carefully wipe the surface of the GUI screen with a soft, lint-free cloth or screen wipe specially designed for the purpose. When cleaning the GUI screen please take the following precautions: • Avoid putting pressure on the screen. • Don’t use harsh abrasives, for example, paper towels. • Don’t apply liquids directly to the screen.
553 Glossary This section provides an explanation of some of the symbols, terms and abbreviations used in this manual. 5.1 surround: A surround sound system created from six channels that form a discrete signal, which is played back over a speaker system comprising five speakers (three front and two rear) and a subwoofer (which is the “.1” or LFE channel). See LFE. -6 µ: Micro- prefix symbol that represents 10 one millionth. or A A/D: Abbreviation for “analogue to digital”.
554 Glossary Bay: One of the five main control centre modules, which contains a control surface and a GUI screen. Bus: A pathway down which one or more signals can travel. C Cat 5e: A specification for a type of cable used typically for Ethernet computer networks. Channel: Single path taken by an audio signal (input or output) through the control centre. Channel strip: Row of controls in traditional analogue layout used for the shaping of a signal.
555 Glossary processing done after an analogue audio signal has been converted into digital audio. Can be used to create, for example, compression, equalization etc., of a digital signal. A digital signal processor is a piece of equipment specifically designed for carrying out signal processing. Fricative: A consonant, such as “f” or “s”, produced by the forcing of breath through a constricted passage. From section: The leftmost area of the patching screen that contains the source patch connectors.
556 Glossary I/O: Abbreviation for “input/output”. ID: Abbreviation for “identification”. Ident: Scale marking, or gradation, around a control knob to help indicate the current setting and to assist in accurate adjustment. Impedance (Z): Opposition to the flow of alternating current in a circuit, measured in ohms. Input: 1. The signal being received by a device. 2. The physical location of where a device receives a signal. 3. Concerning the input bays on the PRO2 control surface.
557 Glossary Mono: A single signal. Mute: Function that allows a channel’s signal to be silenced. Mute safe: Function that means a mute cannot be controlled by scene recall or auto-mutes. N N/A: Abbreviation for “not applicable”. Navigation: The act of directing channels or buses to the control surface for selection, mixing, processing etc. Navigation zone: Area on the control surface concerning navigation. nm: Symbol for nanometre (one billionth of a metre).
558 Glossary Point scene: Subdivision of a scene. See Scene. Pointer: 1. On the GUI, the pointer is the arrow-shaped object on the screen that moves when the user moves the trackball or external mouse. 2. On a control knob, it is the marking that, when used in conjunction with the ident around edge of control knob, helps to indicate the setting. POP group: A number of channels assigned to a group that has unfold and area B controls.
559 Glossary Stereo: Two separate channels, left and right, used to give the listener the perception of where the noise is coming from. Usually used with music to give a fuller, more natural sound. Stereo image: The perception of the different sound sources coming from far left, far right or anywhere in between. Surround: Audio that has more than two speaker locations and, therefore, more than two channels. Also commonly termed “surround sound”.
Owner’s Manual Other important information 1 Register online. Please register your new Midas equipment right after you purchase it by visiting www.midasconsoles.com. Registering your purchase using our simple online form helps us to process your repair claims more quickly and efficiently. Also, read the terms and conditions of our warranty, if applicable. 2 Malfunction.
561 FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION MUSIC Group Research UK Limited PRO2 Live Audio System Responsible party name: MUSIC Group Research UK Limited Address: Klark Industrial Park, Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England.
562 PRO2 Live Audio System Owner’s Manual
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© 2011 MUSIC Group Research UK Limited MUSIC Group Research UK Limited Klark Industrial Park, Walter Nash Road, Kidderminster. Worcestershire. DY11 7HJ. England. Tel: +44 1562 741515, Fax: +44 1562 745371 Email: mkt.info@music-group.com Website: www.midasconsoles.
