Download ProRack – House (H1020) OWNERS MANUAL

ProRack – House (H1020)
OWNERS MANUAL
APB-DynaSonics, Inc.
20 West End Road
Totowa, New Jersey, 07512, U.S.A.
Tel: 973-785-1101
Fax: 973-785-1105
Web: www.apb-dynasonics.com
IMPORTANT SAFTEY INSTRUCTIONS
CAUTION:
PLEASE READ AND OBSERVE ALL WARNINGS AND INSTRUCTIONS IN THIS INSTALLATION AND
OPERATING GUIDE AND THOSE MARKED ON THE UNIT. RETAIN THIS GUIDE FOR FUTURE REFERENCE.
This unit has been designed and manufactured to assure personal safety. Improper use can result in electric shock or fire hazard. The
safeguards incorporated in this unit will protect you if you observe the following procedures for installation, use, and servicing.
This unit does not contain any parts that can be repaired by the user.
DO NOT REMOVE ANY COVERS OR SUB-ASSEMBLIES, OR YOU MAY BE EXPOSED TO DANGEROUS VOLTAGES. REFER SERVICING
TO QUALIFIED SERVICE PERSONNEL ONLY.
• Read these instructions. – All of these safety and operating instructions should be read before this product is operated
• Keep these Instructions. – The safety, operating and use instructions should be retained for further reference.
• Heed all warnings. – All warnings on the product and in the operating instructions should be adhered to.
• Follow all instructions. - All operating and use instructions should be followed.
• Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider
than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is
provided for your safety. If the prong does not fit into your outlet, consult an electrician of the obsolete outlet.
• Do not use this apparatus near or water. – Do not expose apparatus to dripping or splashing and ensure that no objects
filled with liquids, such as vases, glasses or cups are placed on this apparatus. Do not operate on or near wet surfaces
such as swimming pools and do not expose to rain.
• Clean only with dry cloth. – Unplug the product from the wall outlet before cleaning. Do not use liquid cleaners.
• Do not block ventilation openings. Install in accordance with manufacturers instructions. – Slots and openings in the
assembly are provided for ventilation, to ensure reliable operation of the product, and to protect from overheating. Care
should be taken never to block these openings in any operating situation.
• Do not install near any heat source such as radiators, heat registers, stoves, or other apparatus that produce heat.
• Protect the power cord from being walked upon or pinched, particularly at the plugs, convenience receptacles, and the
point where they exit from the unit.
• Only use attachments/accessories specified by the manufacturer.
• Use only the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is
used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
• Unplug this apparatus during lightning storms or when unused for long period of times.
• Refer all servicing to qualified service personnel. Service is required when the apparatus has been damaged in any way,
such as power-supply cord or plug damaged, liquid has bee spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
• To completely disconnect mains power from this apparatus, the power supply cord must be unplugged.
• Check AC power source for correct voltage and sufficient current capacity.
• Unplug the unit from AC mains before moving, servicing, or cleaning.
• Do not use frayed or damaged power cords or connectors.
• Do not place the unit on an unstable surface.
• Do not operate and immediately unplug equipment from AC mains if liquid has entered the unit.
• Do not plug unit into AC mains if it has physically been damaged in any way.
• Secure and protect ALL cabling to and from the units to prevent they being walled on, pinched, or pulled.
• Do not install the unit in areas of high electromagnetic or RF fields.
• Observe proper procedures for lifting and moving this unit as its weight and size requires that more than a single person be
employed in these operations.
• Should the unit be damaged in any way or contaminated with liquid, have the unit inspected and serviced by qualified
service personnel.
• This unit contains no user serviceable parts. All servicing must be performed by a qualified service engineer or through
APB-DynaSonics or its qualified dealer.
• Operate in accordance with U.S. Governments’ Occupational and Health Administration (OSHA) requirements,
specifications, suggestions and regulations or those of any other local governing requirements where the equipment is to
be used or serviced.
3
YOUR PRORACK MIXER
Congratulations on your purchase of one of the finest live performance professional audio mixers manufactured in the United States.
Please take a moment to review this manual. It will insure a better understanding of the operation of this mixer and may open up new
possibilities into how you use this product.
In addition to the hard copy of this manual, it will appear within our web site www.apb-dynasonics.com with the latest updates as
well as new supplemental information. We suggest that you occasionally check our web site for additional information about your
mixer as well as for new product releases and news from APB-DynaSonics.
Should you have any questions or comments about this or any other APB product, please do not hesitate to contact us at:
Tel: 973-785-1101 Fax: 973-785-1105
e-mail: [email protected]
Manual Scope
This manual is not intended to teach you how to mix or how to set up a complete sound system. Should you be looking for such
information, May we suggest that you do a search for “Pro Audio Books” on the internet, or attend one of the many fine Recording
Schools that may be available to you. Many of these schools offer courses in Live Performance associated subjects as well as basic
mixing techniques.
One of the best sources of teaching the technical aspect of system design and operation is through the Syn-Aud-Con organization:
Synergetic Audio Concepts, Inc., 8780 Rufing Road Greenville, IN, 47124 – USA
Tel: 800-796-2831 Fax : 812-923-3610 For calls outside of the US: 812.923.0174
Email: [email protected]
www.synaudcon.com
4
INDEX
OVERVIEW
FRONT PANEL................................................................................................................................................................................................. 6
REAR PANEL .................................................................................................................................................................................................... 7
BLOCK DIAGRAM.......................................................................................................................................................................................... 8-9
MONO INPUT CHANNELS
PREAMP ............................................................................................................................................................................................................. 10
EQUALIZATION.............................................................................................................................................................................................. 11
AUXILIARY SENDS ........................................................................................................................................................................................ 12
BUS ASSIGNMENT AND PAN ................................................................................................................................................................. 13
MUTE, PFL AND LEVEL CONTROL ........................................................................................................................................................ 13
REAR PANEL CONNECTORS .................................................................................................................................................................... 14
DUAL-MONO / STEREO INPUT CHANNELS
PREAMP ............................................................................................................................................................................................................. 15
DUAL MONO / STEREO MODE SELECTION ................................................................................................................................... 15
EQUALIZATION ............................................................................................................................................................................................. 16
AUXILIARY SENDS ....................................................................................................................................................................................... 17
BUS ASSIGNMENT AND BALANCE ...................................................................................................................................................... 18
MUTE, PFL AND LEVEL CONTROL ....................................................................................................................................................... 18
REAR PANEL CONNECTORS ................................................................................................................................................................... 19
MASTER SECTION
GROUP CONTROLS ..................................................................................................................................................................................... 20
GROUP REAR PANEL CONNECTORS .................................................................................................................................................. 21
AUXILIARY CONTROLS ............................................................................................................................................................................. 22
AUXILIARY REAR PANEL CONNECTORS .......................................................................................................................................... 23
MAIN BUS CONTROLS ............................................................................................................................................................................... 24
MAIN BUS REAR PANEL CONNECTORS ............................................................................................................................................ 25
HEADPHONES AND MONITORING ..................................................................................................................................................... 26
MONITOR REAR PANEL CONNECTORS ............................................................................................................................................ 27
SOLO LINKING SYSTEM ............................................................................................................................................................................. 27
LAMP AND DIMMER SYSTEM ................................................................................................................................................................ 28
GENERAL INFO
POWER SUPPLY ............................................................................................................................................................................................ 29
DIMENSIONS & MOUNTING ................................................................................................................................................................... 30
INTERCONNECTING..................................................................................................................................................................................... 31
SPECIFICATIONS .......................................................................................................................................................................................... 33
5
ProRack H1020
Front Panel Overview
1
2
+48V
3
+48V
Line
11
+48V
Line
Line
12
+48V
13
+48V
Line
Line
14
Dual Mono
+48V
15
Dual Mono
+48V
Polarity
Pad
+
–
Gain
40
30
45
20
Polarity
15
HPF
80
200
25
200
– 0 +
9
9
15
2K
1K
Hi
Freq
15
9
9
15
dB
4K
– 0 +
2K
1K
Hi
Freq
15
4K
Hi
Mid
9
9
15
400
dB
15
200
15
400
2K
9
80
Lo
dB
2K
Lo
3 –
6
0
20
•
6
6
3 –
0
12
20
•
6
Pre
3 –
0
6
12
20
•
6
6
3 –
0
12
20
•
Pre
6
•
6
0
6
3 –
0
12
20
2
•
20
20
•
6
3 –
0
•
6
Pre
3 –
0
6
+
3
3
12
20
Aux
•
6
+
3
4
6
20
Aux
Lvl
dB
•
6
20
1
Aux
3 –
0
6
3 –
0
•
Pan
20
2
0
•
6
3 –
0
12
20
Pre
•
6
Pre
3 –
0
6
+
3
3
12
20
Aux
•
6
+
3
4
6
dB
20
Aux
•
6
6
3 –
0
12
6
Lvl
20
•
Pan
1
0
15
– 0 +
dB
Lo
On
Fdr
EQ
1
12
3 –
•
6
0
6
3 –
0
12
2
20
Pre
•
6
Pre
3 –
0
6
+
3
12
3
20
Aux
•
6
+
3
12
4
20
6
20
Aux
20
Lvl
Pan
2
•
6
1
Aux
3 –
0
6
3 –
0
•
20
2
•
6
3 –
0
20
•
6
Pre
3 –
0
6
+
3
3
12
20
Aux
•
6
+
3
4
12
20
6
20
Aux
•
6
0
6
3 –
0
12
6
Lvl
20
1
Aux
2
200
•
3 –
20
•
6
3 –
0
12
•
•
Lo
•
6
Aux
7
8
9
H1020
10
0
10
Lo
9 Freq
dB
•
6
20
1
Aux
2
0
6
3 –
0
•
20
•
6
3 –
0
12
•
15
15
– 0 +
3
20
•
6
4
12
•
Pre
6
L
+
3
20
Aux
•
6
20
R
6
0
6
3 –
0
•
20
•
6
+
3
2
6
3 –
0
12
•
3
20
•
6
4
12
Pre
6
L
+
3
20
Aux
•
6
20
R
6
0
6
3 –
0
•
20
•
6
+
3
2
6
3 –
0
12
•
6
3
20
•
6
+
3
4
12
Pre
6
L
+
3
20
Aux
•
6
20
R
6
6
0
20
•
10
Aux
3 –
6
0
A6
+ Out
6
12
20
10
Aux
•
10
Aux
AFL
6
Str
1
2
3
9
6
3
0
3
6
12
24
1
Aux
6
•
4
A5
+ Out
6
12
4
9
6
3
0
3
6
12
24
Groups
Meter Select
M
C
L
R
Solo
+
3
2
1
2
Sig
3
4
10
5
0
+
3
3
5
Aux
+
3
10
4
20
30
Group
Leve l
Group Assign
2
3
Stereo
3 –
0
6
3 –
0
12
6
+
3
A4
+ Out
6
12
5
+
3
6
3 –
0
•
3 –
Pre
12
Aux
•
Bal
14
0
Pre
3 –
0
6
+
3
Stereo
12
6
1
Aux
6
3 –
3 –
12
20
12
5
+
3
6
3 –
0
•
On
6
+
3
10
5
15
15
EQ
Pre =
Pre
12
Aux
+
3
Lo
9 Freq
dB
20
6
Bal
13
0
Pre
3 –
0
6
+
3
Stereo
12
6
1
Aux
6
3 –
3 –
12
20
12
5
+
3
6
3 –
0
15
15
– 0 +
6
0
AFL
dB
Fdr
On
EQ
6
+
3
•
3 –
12
20
3
9
9
15
15
EQ
Pre =
Pre
12
Aux
+
3
Lo
9 Freq
dB
9
20
6
Bal
12
0
Pre
3 –
0
6
+
3
Stereo
3 –
3 –
6
+
3
dB
A3
+ Out
6
20
Mid Aux
– 0 +
0
12
6K
9
Fdr
On
EQ
12
Hz
Mid
9
3 –
6
2K
200
– 0 +
dB
15
15
– 0 +
6
+
3
1K
2
AFL
dB
4K
6K
Aux
1
15
500
2K
9
15
15
EQ
Pre =
6
12
Lvl
0
Freq Aux
15
Hz
Mid
9
20
12
20
6
6
3 –
0
12
Pre
6
Phones
4 5 6
3
7
8
2
9 ProRack 1
50
dB
1K
200
9
Pre
12
Pan
6K
– 0 +
20
6
Pan
11
0
12
6
+
3
Gain
R
3
2
1
65
4K
Fdr
On
EQ
20
5
Power
On
Monitor Out
Stereo
Hz
dB
9 Freq
dB
20
+
3
20
15
500
2K
9
15
15
– 0 +
9
Aux
4
45
Freq
15
dB
1K
Mid
Pre
3 –
0
6
+
3
Inten
4 5 6
65
40
30
15
Freq
200
9
20
3
Gain
L
Phones
50
65
4K
6K
– 0 +
Pre
+
3
45
Stereo
Hz
6
+
3
Stereo
3 –
15
15
500
2K
6
+
3
Gain
R
50
65
15
dB
15
15
EQ
Pre =
6
12
5
6
•
Pre
Pan
+
3
6
3 –
0
Pan
MONO
3 CHANNELS
0
12
Pre
+
3
3 –
12
6
+
3
15
Fdr
On
EQ
6
+
3
Stereo
12
6
Lo
9 Freq
dB
40
30
20
15
45
Pad
(Line)
Pol-Left
+
–
65
40
30
Stereo
4K
dB
15
15
– 0 +
9
Gain
L
50
20
50
15
1K
15
15
EQ
Pre =
6
12
5
6
•
Pre
Pan
+
3
6
3 –
0
15
9
9
Fdr
On
EQ
20
Aux
Lo
Mid
45
Stereo
M
C
M Ext
In
(Only)
Stereo Record Out
4 5 6
Add Source
C
Select
To
L
R
L
R
L
R
L
R
3
7
(Mixed)
2
8
Mono
Mono
Mono
Mono
1
9 L-R Aux
80
80
80
80
L-R
HPF
HPF
HPF
HPF
5-6
0
10
50
50
50
50
200
200
200
200
3 –
3 –
25
25
25
25
0 A1
0 A2
300
300
300
300
6
6
+ Out
+ Out
Off
Off
Off
Off
6
6
400
400
400
400
12
12
0
0
0
0
+
+
+
+
–
–
–
–
20
20
• 10
• 10
9
9 Hi
9
9 Hi
9
9 Hi
9
9 Hi
500
2K
40
30
20
Gain
R
Freq
1K
Pad
(Line)
Pol-Left
+
–
15
45
12V
Lamp
Dual Mono
+48V
Stereo
65
40
30
20
50
dB
15
9
9 Freq
dB
9
80
Lo
Mid
9
6
+
3
400
Gain
R
Gain
L
50
65
Hz
1K5
15
15
EQ
Pre =
+
3
+
3
2K
Hi
Mid
9
200
15
15
– 0 +
Lo
Stereo
3 –
dB
– 0 +
6
12
5
6
•
Pre
Pan
+
3
6
3 –
0
12
20
+
3
3 –
9
1K
9
9 Freq
dB
6
+
3
400
80
Lo
Mid
15
15
– 0 +
12
Hz
400
8K
– 0 +
Hz
1K5
9
9
Hi
Mid
15
200
2K
dB
4K
6K
9
15
1K
– 0 +
6
+
3
Stereo
12
6
9
15
15
EQ
Pre =
6
12
5
6
•
Pre
Pan
+
3
6
3 –
0
12
20
+
3
0
12
Pre
Stereo
3 –
3 –
12
6
+
3
6
12
20
1
Aux
Hi
Mid
Fdr
On
EQ
6
+
3
400
80
15
15
EQ
Pre =
Fdr
On
EQ
EQ
400
8K
– 0 +
Hz
1K5
dB
9 Freq
dB
1K
6K
15
9
15
15
– 0 +
15
15
EQ
Pre =
F
12
15
Lo
Mid
9
9
4K
Hi
Freq
15
Hz
9
200
– 0 +
dB
9 Freq
dB
400
8K
– 0 +
9
1K
9
15
15
– 0 +
9
1K
2K
45
15
45
15
9
15
40
30
20
Stereo
9
dB
Hz
Hz
1K5
Lo
Mid
– 0 +
9
Hi
Mid
15
Hz
1K5
2K
Hi
Freq
15
6K
9
200
1K
80
4K
6K
400
8K
– 0 +
9
15
dB
Gain
L
Pad
(Line)
Pol-Left
+
–
65
40
30
20
300
400
– 0 +
9
Hi
Freq
15
Hz
6K
9
2K
1K
Hz
400
8K
– 0 +
9
15
200
Off
– 0 +
9
dB
15
HPF
25
300
400
45
50
65
80
50
40
30
20
50
15
HPF
200
Off
45
Pad
(Line)
Pol-Left
+
–
Gain
40
30
65
80
25
300
400
Pad
20
50
50
200
Off
400
45
15
HPF
Polarity
+
–
Gain
40
30
65
80
50
Pad
20
50
25
300
– 0 +
45
15
HPF
Polarity
Gain
40
30
65
Off
400
Pad
20
80
50
25
300
Off
45
50
65
15
Polarity
+
–
Gain
40
30
20
50
50
Pad
+
–
16
Dual Mono
+48V
Stereo
Stereo
1
L
+
3
M
M
Aux
C
C
6
L
L
+
3
R
6
Bal
15
4
5
R
R
AFL
16
4 THRU 10
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
1
Pk
+8
0
-6
12
Sig
Pk
+8
0
-6
12
Sig
10
10
10
5
1
5
0
2
10
15
C
15
L-R
30
40
15
L-R
40
L-R
40
40
15
40
L-R
40
15
15
L-R
40
L-R
0
5
5
10
10
15
15
20
20
30
30
40
40
1-2
40
3-4
PFL
15
C
L-R
3-4
PFL
C
30
1-2
3-4
R
M
20
30
40
14
C
20
1-2
PFL
13
10
4
L
10
M
0
M
L-R
3-4
PFL
C
30
1-2
3-4
12
15
16
5
10
3
C
10
5
0
M
20
30
1-2
PFL
C
20
15
5
10
M
L-R
3-4
11
C
30
1-2
PFL
3
15
10
5
0
5
10
20
14
2
M
Pk
L 0
Sig
Pk
R 0
Sig
10
5
0
M
L-R
3-4
PFL
2
C
30
1-2
3-4
PFL
15
13
5
10
Pk
L 0
Sig
Pk
R 0
Sig
10
5
0
M
20
30
1-2
3-4
C
20
30
1-2
1
C
12
5
10
M
Pk
L 0
Sig
Pk
R 0
Sig
10
5
0
5
10
20
11
0
M
Pk
L 0
Sig
Pk
R 0
Sig
10
5
5
10
M
20
3
0
5
Pk
+8
0
-6
12
Sig
10
5
0
5
Pk
+8
0
-6
12
Sig
Pk
+8
0
-6
12
Sig
PFL
16
M
C
L-R
Chan 13-16
Direct Outs
In
Bal
In
R
R
Bal
In
Line
In
Line
In
Bal
In
Dual-Mono/Str
L
15
L
Bal
In
Dual-Mono/Str
Out
Stereo Alt Out
-10dBV
R
Rt
+4dBu
Bal
+4dBu
Bal
Rt
Left
Left
(M)
L
Ext Line Input Stereo Alt Out
16
Solo Linking
(L+R)
Sum
Right
Left
Monitor Out
16
15
14
13
(Summed Mono)
Bal
In
R
Line
In
L
Bal
In
Dual-Mono/Str
Out
Bal
In
R
Line
In
L
Bal
In
Dual-Mono/Str
Press
Mic
Lev
Mic
Lev
C
Insrt
M
Insrt
Press
Bus
In
Out
Main Out C
13
Bus
In
Main Out M
14
Bal In
Out
Mic
Lev
Press
Insrt
R
Bus
In
Out
Mic
Lev
Press
Insrt
L
Bus
In
Main Out L
Dir
Out
11
Line
In
Insrt
Bal In
Dir
Out
11
Insrt
12
Line
In
Main Out R
12
Bal In
Dir
Out
Insrt
10
Line
In
Bal
Out
Insrt
G4
Bus
In
Group Mix 4
10
Bal In
Dir
Out
Insrt
9
Line
In
Bal
Out
Insrt
G3
Bus
In
Group Mix 3
9
Bal In
Dir
Out
Insrt
8
Line
In
Bal
Out
Insrt
G2
Bus
In
Group Mix 2
8
ProRack H1020
Rear Panel Overview
Bal In
Dir
Out
Insrt
7
Line
In
Bal
Out
Insrt
G1
Bus
In
Group Mix 1
7
Bal In
Dir
Out
Insrt
6
Line
In
Bal
Out
Insrt
A6
Bus
In
Aux Mix 6
6
Bal In
Dir
Out
Insrt
5
Line
In
Bal
Out
Insrt
A5
Bus
In
Aux Mix 5
5
Bal In
Dir
Out
Insrt
4
Line
In
Bal
Out
Insrt
A4
Bus
In
Aux Mix 4
4
Bal In
Dir
Out
Insrt
3
Line
In
Bal
Out
Insrt
A3
Bus
In
Aux Mix 3
3
Bal In
Dir
Out
Insrt
2
Line
In
Bal
Out
Insrt
A2
Bus
In
Aux Mix 2
2
Bal In
Dir
Out
Insrt
1
Line
In
Bal
Out
Insrt
A1
Bus
In
Aux Mix 1
1
ProRack-FOH Block Diagram
ProRack-FOH Block Diagram
PFL
Solo Left
Console
Interconnection
Aux Outputs
Master Metering
Aux 1 to 6
1 of 6 shown
Bus In
+4dBu
9
6
3
0
3
6
12
24
Solo Right
Rear
Connector
Panel
Hi-Pass
-12dB/Oct
20Hz - 400Hz
Gain
10 - 65 dB
+48V
Sig
Level
Freq Level
Freq Level
Pk
8
Chan
0
LED
6
12 Meter
Sig
Level
EQ On
Line Polarity
In
Pad
Aux Mix Bus
100mm
Channel
Fader
Bal
XLR In
Hi Freq
10kHz
Hi Mid
400 - 8kHz
From
Mic Pre
Mute
Mono Center
To
Aux
Mutes
Four Band EQ
HPF
Pre
Fader
FET
Mute
L-R
Grp
1-2
Grp
3-4
Left Bus
Right Bus
Bus Assignment
and
Pan Circuitry
Group-1 Bus
Group-2 Bus
Fader Amp
Insert
+4dBu
Aux Bus 1
1
2
Pre-EQ
3
AFL on Aux 5 & 6
is Stereo-linked
Group Outputs
Main Output Signals
Group
Mix Amp
Aux “Pre”
Buffer
Preamp / EQ
Sub-Board
Aux Bus 5
R
Aux Bus 6
Group Meter Feed
Freq
Level
100mm
Stereo
Channel Fader
Level
Left
Fader
Amp
Hi Freq
10kHz
HPF
Right
Mid-Sweep
200 - 6kHz
Lo Freq
80Hz
EQ On
Three Band EQ
Mid-Sweep
200 - 6kHz
L & R Always Active
Right
Stereo
Alt
Level
Grp To
Left
Grp To
Right
Right Bus
Peak
To
Aux
Mutes
Lo Freq
80Hz
Mono Center
L-R
Grp
1-2
Mono Bus
Grp
3-4
Center Bus
Balance
Pot
Bus Assignment
and
Pan Circuitry
FET
Mute
Pre
Fader
Main Outputs
Mono, Center, Left, Right
1 of 4 shown
Left
Left Bus
Right Bus
Right Gain
10 - 65 dB
Bal
XLR In
Stereo
Alt Out
Signal
Summing
Group Out
+4dBu
Center Bus
Solo DC
Pk
8 L Chan
Sig
LED
Pk
8 R Meter
Sig
Mute
Hi Freq
10kHz
Group
Fader
Left
Left Bus
Bal
XLR In
Input
Switching
Mono
Post-fader Center
Main Outs
Left
Right
Grp To
Center
Solo Right
Sig
HPF
-12dB
- Add Center Mono
10dB
Grp To
Mono
Solo Left
Level
Stereo Alternate Out
Solo DC
Mono Bus
Line In
Group Output Signals
L
5
Rear
Connector
Panel
Source Select
Left - Right
Group Insert
-2dBu
Ring
Solo Right
PFL
Stereo Hi-Pass
-12dB/Oct
20Hz - 400Hz
Tip
Sig
Solo Left
5-6
Stereo
5-6
Pre
Group Bus
Assignment
Left Gain
10 - 65 dB
Grp-1 Grp-2 Grp-3 Grp-4
Peak
Aux Bus 4
6
Polarity
Left
Right
Bus In
+4dBu
Aux Bus 3
Channels 1-12
Line
Pad
Left
Groups 1 to 4
AFL
ProRack Mono Inputs
+48V
Mono Center
Aux Out
+4dBu
Group Mix Bus
Post
Pre
Insert Fader
Direct Out
– User Options –
Right
Solo Audio
Signals
Solo DC
Signal
Aux
Level
Fader
Amp
Aux Bus 2
3-4
Pre
4
Post
Fader
Left
10dB
Solo DC
Group-4 Bus
Tip
Pre
Amp
Solo Meter Switch-over Logic
Solo Right
Group-3 Bus
From
Mute Sw
Dir Out
Buffer
Ring
1 of 4 shown
Direct
Out
+4dBu
Ring
Meter Drivers
Aux Insert
-2dBu
Solo Left
Aux Sends
1-2
Pre
Aux Pre
Pre-Fdr
Pre-EQ
– User Options –
From
Fader Amp
AFL
Mono Bus
Post
Insert
Ring
Group
Meters
Tip
Center Bus
To
Dir Out
Post
HPF
Tip
Peak
Sig
Pan
Pot
10dB
Line In
Aux
Mix Amp
Peak
Lo Freq
60Hz
Lo Mid
80 - 2kHz
Solo DC
9
6
3
0
3
6
12
24
Group-1 Bus
Group-2 Bus
Bus In
+4dBu
Main Mix Bus
Group-3 Bus
Fader
Amp
To Mon & HP
Source Select
Peak
Main
Mix Amp
Ext
Monitor In
Sig
Tip
Group-4 Bus
1-2
Pre
From
Mute
Switch
Right
Aux Sends
Main Insert
-2dBu
Ring
1
Aux Bus 1
2
Aux Bus 2
Line In
Pre EQ- Left
L
Pre EQ- Right
R
3
Pre-Aux
Buffer
Direct
Out
+4dBu
Pre
EQ
Aux
Pre-Source
Select
Tip
Ring
Dir Out
Buffer
10dB
Fader
Amp
1-4 Always
Summed Mono
3-4
Pre
Summed
Left
Main Meter Feed
Aux Bus 3
100mm
Main
Fader
Right
Main Out
+4dBu
4
5-6
Pre
Aux Bus 4
Channels 13-16
5
Aux Bus 5
Aux Bus 6
Mono Center
Mono
Center
Left
Post-fader
Right
Outputs
Aux 5
Aux 6
ProRack Power Supply
Model: PRPS-60
Removable Power Supply
Sum
Monitor Source Select
6
L-R
Aux
5-6
Solo
Audio
Switch
Solo-R
Mix Amp
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR
Off
Ext
Mon
All Signals Summed
Solo-L
Mix Amp
Headphone
Level
Solo Audio
Signals
Monitor
Out
Monitor
Level
Single Stereo fader
for Left & Right
5-6
Stereo
ProRack Stereo Inputs
Headphone
Jacks
on Front Panel
DC
Logic
WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO
Power
NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. THE
APPARATUS MUST NOT BE EXPOSED TO DRIPPING OR
SPLASHING AND NO OBJECTS FILLED WITH LIQUIDS, SUCH
AS VASES, SHOULD BE PLACED ON THE APPARATUS.
On
AVERTISSEMENT:
AFIN DE PRÉVENIR TOUT RISQUE DE FEU OU DE CHOC
ÉLECTRIQUE, ÉVITEZ D’EXPOSER CET APPAREIL À LA PLUIE
OU À L’HUMIDITÉ. NE PAS PLACER DE RÉCIPIENT DE LIQUIDE
À PROXIMITÉ DE L’APPAREIL, AFIN D’ÉVITER DES
ÉCLABOUSSURES OU RENVERSEMENTS SUR CELUI-CI.
AC Inlet
15A IEC
Mic
Level
MOUNT IN RACK ONLY
INSTALLER SUR SUPPORT DE MONTAGE SEULEMENT
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
DynaSonics
AC IN
100-240V
50 / 60 Hz
70W
ProRack Power Supply
Model PRPS-60
ProRack™ Series
Designed and Built in the USA
Audio Connections
1
2
3
1= Chassis
2= Out +
3= Out –
XLR Outputs
2
1
3
1= Chassis
2= In +
3= In –
XLR Inputs
T= In +
R= In –
S= Chassis
Line/Bus Inputs
T= Send
R= Return
S= Audio Gnd
Insert Wiring
T= Out +
R= Out Rtn
S= Chassis
Dir Outputs
APB-DynaSonics
20 West End Road
Totowa, New Jersey 07512
www.apb-dynasonics.com
Internal
Fan
Solo-DC
[email protected]
-18V @ 1.5A
+15V @ 1A
+48V @ 0.2A
Intensity
Trimmer
4-Pin XLR
for 12V Lamps.
Power Distibution and Filter Board
The power supply assembly is easily removed from the chassis
with 6 screws and can be field-replaced.
APB-DynaSonics
ProRack-FOH Block Diagram Rev 0.90 1-Jun-07
Any style lamp can be used;
Low-current LED to Hi-current Halogen.
DynaSonics
ProRack-H1020
Block Diagram
ProRack-FOH Block Diagram
ProRack-FOH Block Diagram
PFL
Solo Left
Console
Interconnection
Aux Outputs
Master Metering
Aux 1 to 6
1 of 6 shown
Bus In
+4dBu
9
6
3
0
3
6
12
24
Solo Right
Rear
Connector
Panel
Hi-Pass
-12dB/Oct
20Hz - 400Hz
Gain
10 - 65 dB
+48V
Sig
Level
Freq Level
Freq Level
Pk
8
Chan
0
LED
6
12 Meter
Sig
Level
EQ On
Line Polarity
In
Pad
Aux Mix Bus
100mm
Channel
Fader
Bal
XLR In
Hi Freq
10kHz
Hi Mid
400 - 8kHz
From
Mic Pre
Mute
Mono Center
To
Aux
Mutes
Four Band EQ
HPF
Pre
Fader
FET
Mute
L-R
Grp
1-2
Grp
3-4
Left Bus
Right Bus
Bus Assignment
and
Pan Circuitry
Group-1 Bus
Group-2 Bus
Fader Amp
Insert
+4dBu
Aux Bus 1
1
2
Pre-EQ
3
AFL on Aux 5 & 6
is Stereo-linked
Group Outputs
Main Output Signals
Group
Mix Amp
Aux “Pre”
Buffer
Preamp / EQ
Sub-Board
Aux Bus 5
R
Aux Bus 6
Group Meter Feed
Freq
Level
100mm
Stereo
Channel Fader
Level
Left
Fader
Amp
Hi Freq
10kHz
HPF
Right
Mid-Sweep
200 - 6kHz
Lo Freq
80Hz
EQ On
Three Band EQ
Mid-Sweep
200 - 6kHz
L & R Always Active
Right
Stereo
Alt
Level
Grp To
Left
Grp To
Right
Right Bus
Peak
To
Aux
Mutes
Lo Freq
80Hz
Mono Center
L-R
Grp
1-2
Mono Bus
Grp
3-4
Center Bus
Balance
Pot
Bus Assignment
and
Pan Circuitry
FET
Mute
Pre
Fader
Main Outputs
Mono, Center, Left, Right
1 of 4 shown
Left
Left Bus
Right Bus
Right Gain
10 - 65 dB
Bal
XLR In
Stereo
Alt Out
Signal
Summing
Group Out
+4dBu
Center Bus
Solo DC
Pk
8 L Chan
Sig
LED
Pk
8 R Meter
Sig
Mute
Hi Freq
10kHz
Group
Fader
Left
Left Bus
Bal
XLR In
Input
Switching
Mono
Post-fader Center
Main Outs
Left
Right
Grp To
Center
Solo Right
Sig
HPF
-12dB
- Add Center Mono
10dB
Grp To
Mono
Solo Left
Level
Stereo Alternate Out
Solo DC
Mono Bus
Line In
Group Output Signals
L
5
Rear
Connector
Panel
Source Select
Left - Right
Group Insert
-2dBu
Ring
Solo Right
PFL
Stereo Hi-Pass
-12dB/Oct
20Hz - 400Hz
Tip
Sig
Solo Left
5-6
Stereo
5-6
Pre
Group Bus
Assignment
Left Gain
10 - 65 dB
Grp-1 Grp-2 Grp-3 Grp-4
Peak
Aux Bus 4
6
Polarity
Left
Right
Bus In
+4dBu
Aux Bus 3
Channels 1-12
Line
Pad
Left
Groups 1 to 4
AFL
ProRack Mono Inputs
+48V
Mono Center
Aux Out
+4dBu
Group Mix Bus
Post
Pre
Insert Fader
Direct Out
– User Options –
Right
Solo Audio
Signals
Solo DC
Signal
Aux
Level
Fader
Amp
Aux Bus 2
3-4
Pre
4
Post
Fader
Left
10dB
Solo DC
Group-4 Bus
Tip
Pre
Amp
Solo Meter Switch-over Logic
Solo Right
Group-3 Bus
From
Mute Sw
Dir Out
Buffer
Ring
1 of 4 shown
Direct
Out
+4dBu
Ring
Meter Drivers
Aux Insert
-2dBu
Solo Left
Aux Sends
1-2
Pre
Aux Pre
Pre-Fdr
Pre-EQ
– User Options –
From
Fader Amp
AFL
Mono Bus
Post
Insert
Ring
Group
Meters
Tip
Center Bus
To
Dir Out
Post
HPF
Tip
Peak
Sig
Pan
Pot
10dB
Line In
Aux
Mix Amp
Peak
Lo Freq
60Hz
Lo Mid
80 - 2kHz
Solo DC
9
6
3
0
3
6
12
24
Group-1 Bus
Group-2 Bus
Bus In
+4dBu
Main Mix Bus
Group-3 Bus
Fader
Amp
To Mon & HP
Source Select
Peak
Main
Mix Amp
Ext
Monitor In
Sig
Tip
Group-4 Bus
1-2
Pre
From
Mute
Switch
Right
Aux Sends
Main Insert
-2dBu
Ring
1
Aux Bus 1
2
Aux Bus 2
Line In
Pre EQ- Left
L
Pre EQ- Right
R
3
Pre-Aux
Buffer
Direct
Out
+4dBu
Pre
EQ
Aux
Pre-Source
Select
Tip
Ring
Dir Out
Buffer
10dB
Fader
Amp
1-4 Always
Summed Mono
3-4
Pre
Summed
Left
Main Meter Feed
Aux Bus 3
100mm
Main
Fader
Right
Main Out
+4dBu
4
5-6
Pre
Aux Bus 4
Channels 13-16
5
Aux Bus 5
Aux Bus 6
Mono Center
Mono
Center
Left
Post-fader
Right
Outputs
Aux 5
Aux 6
ProRack Power Supply
Model: PRPS-60
Removable Power Supply
Sum
Monitor Source Select
6
L-R
Aux
5-6
Solo
Audio
Switch
Solo-R
Mix Amp
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR
Off
Ext
Mon
All Signals Summed
Solo-L
Mix Amp
Headphone
Level
Solo Audio
Signals
Monitor
Out
Monitor
Level
Single Stereo fader
for Left & Right
5-6
Stereo
ProRack Stereo Inputs
Headphone
Jacks
on Front Panel
DC
Logic
WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO
Power
NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. THE
APPARATUS MUST NOT BE EXPOSED TO DRIPPING OR
SPLASHING AND NO OBJECTS FILLED WITH LIQUIDS, SUCH
AS VASES, SHOULD BE PLACED ON THE APPARATUS.
On
AVERTISSEMENT:
AFIN DE PRÉVENIR TOUT RISQUE DE FEU OU DE CHOC
ÉLECTRIQUE, ÉVITEZ D’EXPOSER CET APPAREIL À LA PLUIE
OU À L’HUMIDITÉ. NE PAS PLACER DE RÉCIPIENT DE LIQUIDE
À PROXIMITÉ DE L’APPAREIL, AFIN D’ÉVITER DES
ÉCLABOUSSURES OU RENVERSEMENTS SUR CELUI-CI.
AC Inlet
15A IEC
Mic
Level
MOUNT IN RACK ONLY
INSTALLER SUR SUPPORT DE MONTAGE SEULEMENT
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
DynaSonics
AC IN
100-240V
50 / 60 Hz
70W
ProRack Power Supply
Model PRPS-60
ProRack™ Series
Designed and Built in the USA
Audio Connections
1
2
3
1= Chassis
2= Out +
3= Out –
XLR Outputs
2
1
3
1= Chassis
2= In +
3= In –
XLR Inputs
T= In +
R= In –
S= Chassis
Line/Bus Inputs
T= Send
R= Return
S= Audio Gnd
Insert Wiring
T= Out +
R= Out Rtn
S= Chassis
Dir Outputs
APB-DynaSonics
20 West End Road
Totowa, New Jersey 07512
www.apb-dynasonics.com
Internal
Fan
Solo-DC
[email protected]
-18V @ 1.5A
+15V @ 1A
+48V @ 0.2A
Intensity
Trimmer
4-Pin XLR
for 12V Lamps.
Power Distibution and Filter Board
The power supply assembly is easily removed from the chassis
with 6 screws and can be field-replaced.
APB-DynaSonics
ProRack-FOH Block Diagram Rev 0.90 1-Jun-07
Any style lamp can be used;
Low-current LED to Hi-current Halogen.
DynaSonics
ProRack-H1020
Block Diagram
PRORACK HOUSE - MONO INPUT CHANNELS (1-12)
Channel Preamp
48 Volt Phantom Power Switch
When depressed, activates 48-Volt phantom power to the XLR connector. Phantom power is required
for operation of most condenser microphones. See your microphone instructions to see if phantom
power is required or is to be defeated (some –though few-microphones require phantom power NOT
be activated or they may be damaged). Some active Direct Boxes can also use phantom for power.
Mic/Line Switch
Selects between mic input source on XLR connector and line input source on the XLR connector or 1/4”
Line input Jack. When in the UP position, the XLR source is processed as a microphone input signal.
When in the DOWN position, the input is processed as a line level signal from the XLR connector or 1/4”
connector, with the 1/4” connector having priority over the XLR connector. If both connectors are inuse, this switch will select between the XLR (Up) and the TRS (Down)
Polarity Reverse Switch
When depressed, reverses the electrical input polarity of any microphone or line level input signal. Use
of this control may alter the sound quality of an input relative to other channels when multiple
microphones are picking up the same sound. (In the past, many consoles labeled this function as
“Phase” or used the Ø symbol).
Pad Switch
When depressed, inserts a 26dB pad into the microphone input signal path prior to the microphone
preamplifier to prevent overload of excessively high microphone input signal levels. Use this pad
switch when you find that you are operating the gain control in the lower 20% of the control range and
still showing excessive signal levels (yellow and red indications) on the channel meters.
Input Gain Control
This control adjusts the amount of gain at the input stage for the best signal performance within the
console. The goal is to achieve the best signal-to-noise while amplifying input signals to workable
levels, neither too high nor low. The channel’s six-segment meter is used for visualization of proper
channel levels while soloing the channel will give more detailed level information. Proper level is
achieved when there is continuous full green illumination when input sources are at their highest levels
with occasional flashes of the yellow and red LEDs.
10
PRORACK HOUSE - MONO INPUT CHANNELS (1-12)
Channel EQ
High Pass Filter Control
Adjust the high pass filter frequency between 20Hz and 400Hz at a roll off rate of 12dB per octave.
This control is used to remove unwanted signal content below the set frequency such as stage
rumble. The result is usually improved signal quality of the associated input signal while decreasing
the low frequency amplification demand of the audio systems amplifier and speaker combination.
When this control is turned fully counter-clockwise, the filter circuitry is removed from the signal
path to maintain optimum phase response.
High Frequency Level Control
Adjust the high frequency shelving response between +/-15dB. The center “0” position of this control
has a detent to indicate that it is having no effect of the associated channel signal. Boost or cut of the
high frequency level control is usually used for minor tonal adjustments. Corner freq is 10kHz
High-Mid Variable Frequency Select Control
This frequency control selects the center frequency of the high-mid frequency band EQ between
400Hz and 8 kHz with a bandwidth of approximately one octave.
High-Mid Frequency Level Control
Adjust the high-mid frequency cut/boost between +/-15dB. The center “0” position of this control
has a detent to indicate it is having no effect of this frequency band. The high-mid frequency controls
are used for minor tonal adjustment or repair of a specific band of frequencies.
Low-Mid Frequency Control
This frequency control selects the center frequency of the low-mid frequency band between 80Hz
and 2 kHz with a bandwidth of approximately one octave.
Low-Mid Frequency Level Control
Adjust the low-mid frequency cut/boost between +/-15dB. The center “0” position of this control has
a detent to indicate it is having no effect of this frequency band. The low-mid frequency controls are
used for minor tonal adjustment or repair of a specific band of frequencies.
Low Frequency Level Control - Shelving
Adjust the low frequency shelving response between +/-15dB. The center “0” position of this control
has a detent to indicate that it is having no effect of the associated channel signal. Boost or cut of the
low frequency level control is usually used for minor tonal adjustments. Corner freq is 60Hz
EQ ON Switch with LED
This switch inserts the EQ system into the consoles signal path. EQ activation is displayed by the
illumination of an LED next to the EQ on switch. When not in use, it is suggested that the EQ be kept
in the OFF position for the best phase shift performance.
11
PRORACK HOUSE - MONO INPUT CHANNELS (1-12)
Aux Sends
Aux 1-6 Pre-Fader / Pre-EQ Switch
This switch defines the “Pre” signal source for all Auxes; Up is Pre-Fader, Down is Pre-EQ. Internally, the default
Pre-EQ source is set to Post-insert. A qualified technician can change this to a Pre-insert (Post HPF) on a
channel-by-channel basis.
Aux 1-2 Pre Switch
This switch determines the signal source for Aux mixes 1 and 2 between Post-fader (Up) or the above
defined “Pre” signal (Down).
Aux Level Control 1
Adjusts the mix level of the channel into Aux bus 1.
Aux Level Control 2
Adjusts the mix level of the channel into Aux bus 2
Aux 3-4 Pre Switch
This switch determines the signal source for Aux mixes 3 and 4 between Post-fader (Up) or the earlier
defined “Pre” signal (Down).
Aux Level Control 3
Adjusts the mix level of the channel into Aux bus 3.
Aux Level Control 4
Adjusts the mix level of the channel into Aux bus 4
Aux 5-6 Pre Switch
This switch determines the signal source for Aux mixes 5 and 6 between Post-fader (Up) or the earlier
defined “Pre” signal (Down).
Aux 5-6 Stereo Switch
Reconfigures the individual 5 and 6 Aux level controls from two level controls to a level control (6) and
a pan control (5) between bus 5 and 6. This enables a stereo mix to be generated from within this aux
send section for use with stereo headphones, effects, or a discrete stereo mix for recording or broadcast
use.
Aux 5 Level Control
When in normal mono mode, controls the signal level feeding Aux bus 5. When the Aux 5-6 stereo
switch is depressed, this knob now operates as a pan control and adjusts the balance of the signal
being fed to mix buses 5 (CCW) and 6 (CW).
Aux 6 Level Control
When in normal mono mode, controls the signal level feeding Aux bus 6. When the Aux 5-6 stereo
switch is engaged, this knob becomes the Aux 5-6 level control feeding the above pan control.
12
PRORACK HOUSE - MONO INPUT CHANNELS (1-12)
Channel Control
Pan Control
This control blends the post fader signal between any of the assigned bus pairs: L-R, Group1-2 and Group
3-4. When at the center, detented position, both sides are fed equal amounts of signal (each down by
3dB). This pan control has no effect on the Mono or Center mix buses.
Channel Mute Switch - Internally Illuminated
When pressed, this latching switch will mute the assigned outputs of the channel and all pre and post
fader auxiliary sends. The Mute does not affect the channel’s PFL feed, channel metering or the Direct Out
(unless it was set for Post-fader). This switch illuminates RED when activated.
Channel Level Meters
6 segment LED meter indicates the pre-fader channel level. The top segment peak indicator will
illuminate red if any of the multiple sample points in the signal chain approaches 3dB of clipping. A yellow
LED illuminates in the caution zone at a +8 reference level. Four green LED segments indicated signal
levels of 0, -6, -12, and Signal Present. The signal present LED first illuminates at approximately -30 and
increases in brightness with level until it is at full intensity. Best operation is achieved when the bottom 3
green LED’s are illuminated with average input signals with only occasional short yellow/red bursts of the
+8 and peak LEDs.
Mono Assignment Switch
Assigns the post-fader channel signal to the Mono mix bus. It is used as a general purpose post fader
output for use as an additional primary console output, aux or matrix send including use for surround or
subwoofer mixes. It may also be used as part of an A-B vocal mix.
Center Assignment Switch
Assigns the post-fader channel signal to the Center mix bus. In mono sound systems, this bus can be used
as the primary (Center) output (leaving the L-R output available for stereo recording). It is usually used in
LCR installations to feed a discrete signal to the center speaker cluster. It may also find use as a general
purpose post fader output for use as an additional aux or matrix send or as part of an A-B vocal mix.
L-R Assignment Switch
Assigns the channel signal to the Left-Right mix buses through the Pan Control. In Stereo or Dual-Mono
sound systems, this is the most likely used primary output assignment on the console; In Stereo
operation, signal is panned through the pan pot circuit to generate a panoramic image – In Dual-Mono
operation, an identical signal (pan control positioned to center to send an equal and identical signal to
the left and right mix bus system) is fed to the amplifier /speaker systems providing system redundancy.
In systems that include a center (vocal) cluster, the left and right channels are usually used for
stereophonic music reproduction. The Left/Right outputs are also used for music reproduction when
Center and Mono mix buses are used for A-B vocal mixing (theatrical application where identical speakers
covering identical physical areas are used for “A” vocal mix and “B” vocal mix. This eliminates ELECTRICAL
comb filter effects between these two microphones).
1-2 Assignment Switch
Assigns the channel signal to the Group 1 & 2 mix buses through the Pan Control. The Groups can be used
independently using their own insert & XLR jacks, or used as subgroups and assigned back into the Main
mix buses (See Master Section- Groups).
3-4 Assignment Switch
Assigns the channel signal to the Group 3 & 4 mix buses through the Pan Control. Operation is the same
as the Group 1 & 2 assignment.
100mm Channel Fader
This hi-quality fader controls the post-fader channel level.
PFL Switch with Internal Illumination
When pressed, this latching switch will route the Pre-fader channel signal to the Solo system (located in
the master section). This switch illuminates Yellow when activated.
Discrete Sub Woofer Feed Using Mono Assignment Bus
The MONO bus may be used as a fixed level discrete feed to a subwoofer system. The Left-Right, Center, and Mono outputs
are controlled from three individual master faders that, when adjusted equally, maintains the balance between all outputs
including the MONO sub output when master signal levels are changed.
13
PRORACK - HOUSE Mono Input Channel Connectors (Rear Panel)
XLR Input Connector
This connector accepts microphone or line input signals, as determined by the front panel input
source switch and if the TRS line input connector is occupied. When the front panel input source
switch is in the microphone position (Up), this XLR connector will be used as a microphone input and
will have an input impedance of >3000 ohms. When the input selector source switch is in the LINE
input position (Down) and nothing is plugged into the TRS line input connector, this XLR connector
is used as a balanced line input with an input impedance of >10k ohms. If a connector is plugged
into the TRS line input connector, the XLR connector will always be configured as a microphone
input connector with an input impedance of >3000 ohms. This is a locking connector. To remove an
XLR cable, depress the Tab on the connector before attempting to remove the cable plug from the
console connector.
1/4” TRS Line Input Connector
This connector accepts line input signals and has an input impedance of >10k ohms. When the front
panel source switch is selected to line input, signal is first sourced from this connector. If nothing is
plugged into this connector, the XLR input is normaled through this connector as a line input signal.
The line input may be balanced or unbalanced signal.
1/4” TRS Insert Connector
This connector allows external processing or effects electronics to be inserted into the channel’s
signal path after the variable high pass filter. Tip= Send, Ring= Return, Sleeve= Ground. Examples of
external devices include additional equalization, notch filters, compressors, limiters, vocal doublers
and harmonizers, reverb devices, etc. The insert send has an output impedance of 100 ohms
unbalanced and the insert return has an input impedance of 5k ohms unbalanced.
Operating level is +4dBu.
NOTE: The user should ensure that any device inserted into the channel’s signal path is capable of
maintaining the signal integrity of the console. The device must be able to accept a +22dBu signal
without clipping, and have an output impedance of 100 Ω or less and be capable of driving +22dBu
into a 2k Ω load.
1/4” TRS Direct Output Connector
The connector provides a balanced line level output of the input channel’s signal. The default DO
signal is AFTER the microphone preamplifier but before all other processing. This utility output can
be used to feed a multi-track recording device, effects device, or to feed another mixing or
processing device including distributed monitor mixing systems. Operating level is +4dBu
Direct Output - Internal Options
The default DO signal is AFTER the microphone preamplifier but before all other circuitry.
Internal jumpers may be changed (on a channel-by-channel basis) to Post-insert, Pre-fader or Post-fader.
The Direct Output is always active and not affected by the channel Mute switch unless the Post-fader
internal-option is implemented.
(Any changes to the Direct Output source should be made by a qualified technician)
14
PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)
Channel Preamps
48-Volt Phantom Power Switch
When depressed, activates 48 Volt phantom power to both of the XLR input connectors. Phantom
power is required for operation of most condenser microphones. See your microphone instructions to
see if phantom power is required or is to be defeated (some –though few-microphones require
phantom power NOT be activated or they may be damaged). Some active Direct Boxes can also use
phantom for power.
Pad / Line Input Switch
This dual-purpose switch is used to pad down microphone input levels or enables input channels to
accept line level input signals via the XLR connector. When depressed, it inserts a 26dB pad into the
input signal path prior to the preamplifier to prevent overload of excessively high microphone input
signal levels. Use this pad switch when you find that you are operating the gain control in the lower
20% of the control range and still showing excessive signal levels (yellow and red indications) on the
channel dual meters. Also select this when a line input signal is plugged into the XLR input connectors.
If both connectors are in-use, this switch will select between the XLR (Up) and the TRS (Down)
Polarity Reverse Switch
When depressed, reverses the electrical polarity of (only) the left-side input signal. Use of this control
may alter the sound quality of an input relative to other channels when multiple microphones are
picking up the same sound. (In the past, many consoles labeled this function as “Phase” or used the Ø
symbol).
Left Input Gain Control
This control is used to adjust the input gain of the left-side preamp for optimum performance without
producing audible noise (hiss) at high gain settings. The channel’s LED meters and the solo PFL meters
are used in assisting in setting the control for correct gain levels.
Right Input Gain Control
This control is used to adjust the input gain of the right-side preamp and operates the same as (but
independently of) the left-side gain control.
Dual-Mono / Stereo Source Switches
This pair of switches determines the operating mode of the channel.
If no switches are selected (both Up) the channel acts as a conventional stereo-input channel; left
input signals feed the left-side of the channel, right input signals feed the right-side of the channel.
Stereo separation is maintained through the EQ, fader and (stereo) bus assignments. The Balance
control will adjust the relative levels of the left and right signals being sent to any assigned bus-pairs: LR, Grp 1-2, Grp 3-4.
If both switches are depressed, the left and right inputs are summed to mono after the individual
preamp circuitry. The channel now acts as a dual-mono input channel and with separate trim levels for
the two microphone or line inputs (usable when micing similar instruments in close proximity to each
other such as a pair of toms on a drum kit or choir members). Adjustments may be made to each input
for correct balance using the associated input gain control. This summed-signal is then sent equally
through both sides of the channel’s EQ, fader and bus assignment circuitry. The Balance control now
acts as a Pan control and pans this mono signal across any assigned bus-pairs.
If only one switch is depressed, then that single input is selected for use as a mono source and only
that sided preamp is used. This single input is sent equally through the channel’s EQ, fader and bus
assignment circuitry. The Balance control acts as a Pan control and pans this mono signal across any
assigned bus-pairs.
NOTE: If you are going to use the channel as a single-input mono channel, we suggest using the leftside input since you then have a polarity-reverse switch available.
15
PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)
Channel EQ
High Pass Filter Control
Adjust the high pass filter frequency between 20Hz and 400Hz at a roll off rate of 12dB per octave on
both the left and right signal paths. This control is used to remove unwanted signal content below the
set frequency such as stage rumble. The result is usually improved signal quality of the associated input
signal while decreasing the low frequency amplification demand of the audio systems amplifier and
speaker combination. When this control is turned fully counter-clockwise, the filter circuitry is removed
from the signal path to maintain optimum phase response.
Hi Frequency Level Control
Adjust the high frequency shelving cut/boost between +/-15dB of both sides (L & R) of the channel. The
center “0” position of this control has a detent to indicate that it is having no effect of the associated
channel signal. Boost or cut of the high frequency level control is usually used for minor tonal
adjustments. Use of this EQ control will affect both the left and right signal paths. Corner freq is 10kHz.
Mid Frequency Control
This frequency control selects the center frequency of the low-mid frequency band between 200Hz and
6 kHz at a bandwidth of approximately one octave.
Mid Frequency Level Control
Adjust the low-mid frequency cut/boost between +/-15dB of both sides (L & R) of the channel. The
center “0” position of this control has a detent to indicate it is having no effect of this frequency band.
The mid frequency controls are used for minor tonal adjustment or repair of a specific band of
frequencies.
Low Frequency Level Control
Adjust the low frequency shelving cut/boost between +/-15dB at the reference frequency selected. The
center “0” position of this control has a detent to indicate that it is having no effect of the associated
channel signal. Use of this EQ control will affect both the left and right signal paths. Corner freq is 80Hz
EQ ON Switch with LED
This switch inserts the Left and Right EQ circuitry into the channel signal path. Stereo EQ activation is
displayed by the illumination of the LED. When not in use, it is suggested that the EQ be kept in the OFF
position for best phase shift performance.
16
PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)
Channel Auxes
The signals feeding the Aux section are normally mono-mixes of the left & right side signals within
the module. For Auxes 5 & 6, when they are switched to Stereo, the left-side signal feeds the Aux 5
control, the right-side signal feeds the Aux 6 control.
Aux 1-6 Pre-Fader / Pre-EQ Switch
This switch defines the “Pre” signal source for all Auxes; Up is Pre-Fader, Down is Pre-EQ.
Aux 1-2 Pre Switch
This switch selects the signal source for Aux mixes 1 and 2 between Post-fader (Up) or the above
defined “Pre” signal (Down). The feed to these Auxes is a sum of the left & right channel signals.
Aux Level Control 1
Adjusts the summed mono mix of the channel into Aux bus 1.
Aux Level Control 2
Adjusts the summed mono mix of the channel into Aux bus 2.
Aux 3-4 Pre Switch
This switch selects the signal source for Aux mixes 3 and 4 between Post-fader (Up) or the earlier
defined “Pre” signal (Down). The feed to these Auxes is a sum of the left & right channel signals.
Aux Level Control 3
Adjusts the summed mono mix of the channel into Aux bus 3.
Aux Level Control 4
Adjusts the summed mono mix of the channel into Aux bus 4.
Aux 5-6 Pre Switch
This switch selects the signal source for Aux mixes 5 and 6 between Post-fader (Up) or the earlier
defined “Pre” signal (Down). The feed to these Auxes is a sum of the left & right channel signals.
Aux 5-6 Stereo Switch
Reconfigures the signals feeding the individual Aux 5 and 6 level controls from a summed mono mix
to separate left & right signals.
Aux 5 Level Control
Adjusts the summed mono mix of the channel into Aux bus 5. When the Aux 5-6 stereo switch is
depressed, this control is now reconfigured to only feed the channel’s left-side signal into Aux bus 5.
Aux 6 Level Control
Adjusts the summed mono mix of the channel into Aux bus 6. When the Aux 5-6 stereo switch is
depressed, this control is now reconfigured to only feed the channel’s right-side signal into Aux bus 6.
17
PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS (13-16)
Assignment
Balance Control
This control blends the post-fader signal between any of the assigned bus-pairs: L-R, Group1-2 and Group
3-4. When at the center, detented position, both sides are fed equal amounts of signal (each down by
3dB). This Balance control has no effect on the Mono or Center mix buses. When the channel mode
switches are both in their Up position (see earlier section), this control acts as a balance control between
the channel’s left and right assigned signals. If any of the mode switches are depressed (mono operation),
this control performs as a pan control between the assigned left and right mix bus.
Channel Mute Switch - Internally Illuminated
When pressed, this latching switch will mute the assigned outputs of the channel and all pre and post
fader auxiliary sends. The Mute does not affect the channel’s PFL feed or channel metering. This switch
illuminates RED when activated.
Channel Level Meters
2 x 3 segment LED meter indicates pre fader channel level. The top segment (1 left, 1 right channel) peak
indicator will illuminate red if any of the multiple sample points in the stereo signal chain approaches 3dB
of clipping. A yellow LED on each channel illuminates in the caution zone at a +8 reference level. The
green signal present LED first illuminates at approximately -30 and increases in brightness with level until
it is at full intensity on each channel. Best operation is achieved when the green LEDs are illuminated with
average input signals with only occasional short yellow/red bursts of the +8 and peak LEDs.
Mono Assignment Switch
Assigns the post-fader summed-channel signal to the Mono mix bus. It is used as a general purpose post
fader output for use as an additional primary console output, aux or matrix send including use for
surround or subwoofer mixes. It may also be used as part of an A-B vocal mix.
Center Assignment Switch
Assigns the post-fader summed-channel signal to the Center mix bus. In mono sound systems, this bus
can be used as the primary (Center) output (leaving the L-R output available for stereo recording). It is
usually used in LCR installations to feed a discrete signal to the center speaker cluster. It may also find use
as a general purpose post fader output for use as an additional aux or matrix send or as part of an A-B
vocal mix.
L-R Assignment Switch
Assigns the channel signals to the Left & Right mix buses through the Balance Control. In Stereo or Dual
Mono sound systems, this is the most likely used primary output assignment on the console. The Left &
Right outputs are also typically used for music reproduction when Center or Mono mix buses are used for
the Center-fill or sub output of the Console.
1-2 Assignment Switch
Assigns the channel signals to the Group 1 & 2 mix buses through the Balance Control. The Groups can be
used independently using their own insert & XLR jacks, or used as subgroups and assigned back into the
Main mix buses (See Master Section- Groups).
3-4 Assignment Switch
Assigns the channel signal to the Group 3 & 4 mix buses through the Balance Control. Operation is the
same as the Group 1 & 2 assignment.
100mm Channel Fader
This hi-quality stereo fader controls the post-fader channel levels.
PFL Switch with Internal Illumination
This switch will internally illuminate yellow when activated. It will route Pre-Fader dual-mono/stereo
signal to the master section for display on the Left/Right solo meters and into the monitor/headphone
systems.
Discrete Sub Woofer Feed Using Mono Assignment Bus
The MONO bus may be used as a fixed level discrete feed to a subwoofer system. The Left-Right, Center, and Mono outputs are
controlled from three individual master faders that when adjusted equally maintains balance between all outputs including the
MONO sub output when master signal levels are changed.
18
PRORACK HOUSE – DUAL-MONO / STEREO INPUT CHANNELS
Rear Panel
XLR Input Connector (Separate for left and right inputs).
This connector accepts microphone or line input signals, as determined by the front
panel combination Mic/Line – Pad switch.
This is a locking connector. To remove an XLR cable, depress the Tab on the connector
before attempting to remove the cable plug from the console connector.
1/4” TRS Line Input Connector (Separate for Left and Right inputs)
This connector accepts line input signals and has an input impedance of >10k ohms.
The line input may be balanced or unbalanced signal.
1/4” TRS Direct Output Connector (Summed-Mono Output)
The connector provides an impedance-balanced line level output of the input
channel’s post mode switch (Left Only – Right Only – Left+Right in mono or stereo
default mode) signal. This utility output can be used to feed a multi-track recording
device, effects device, or to feed another mixing or processing device including
distributed monitor mixing systems. Operating level is +4dBu.
19
PRORACK HOUSE – MASTER SECTION
GROUP CONTROL SECTION
Group Metering
When the Group Meter Select switch located above the group faders is depressed,
the meters located directly above these four group faders will display the actual
output levels as they appear on the rear panel XLR connectors. When selected, the
associated “Groups” LED will illuminate (yellow) to indicate that the meters are set to
display group output levels.
Signal Level LED
This bi-color Red/Green LED monitors the signal level on the associated Group mix
bus. Varying intensity Green indicates proper bus levels while Red indicates the bus is
at or near overload; this should be an indication to the operator that the channel
input fader levels should be decreased until the red peak indicators are no longer
activated. The red Peak LED monitors the mix bus output, Insert-return AND the postfader signal levels.
Group Level Control Fader
This fader will adjust the output level appearing on the XLR balanced group output
connector and the levels being sent to any of the master output sections (Mono–
Center –Left – Right) if selected. This control has a range of from cut-off to +10dB of
gain above unity.
Mono, Center, Left, Right Assignment Switches
Allows the associated Group post-fader signal (post insert) to be assigned to any of
the primary output buses of the console. This is useful when an operator wishes to
form an analog subgroup for the purposes of inserting a common signal processing
device or to have common control a “group” of assign selected input channel signals.
For subgroup control of a stereo group signal being fed to the primary outputs, an
adjoining group pair would be used with the LEFT assignment switch selected on the
odd number channel and the RIGHT assignment switch selected on the even number
of channel.
Group AFL (Solo) Switch (Internally Illuminated)
When selected, this switch will route post fader (post insert point) signal to the
consoles PFL/AFL Solo system for display on the consoles master meters and to the
mixers monitor/headphone system.
20
GROUP OUTPUT CONNECTORS – REAR PANEL
Balanced 1/4” TRS Group Bus-Inputs
The 10k ohm balanced inputs are provided to bring an external line level signal into the Group mix amp (prior to the fader
level control). This allows any group fader to be used as an additional line level input into the mixer. It may also be used as
part of the system to link multiple mixers together by bring the group output signal of the slave mixer (output level set to
unity) into these group TRS connectors. Any signal brought into these group inputs will be mixed with any other input
signals assigned to this group mix bus.
Group 1/4” TRS Insert Connector
This connector allows external processing or effects electronics to be inserted into the Group’s signal path after the mix amp.
Tip= Send, Ring= Return, Sleeve= Ground. Examples of external devices include additional equalization, notch filters,
compressors, limiters, vocal doublers and harmonizers, reverb devices, etc. The insert send has an output impedance of 100
ohms unbalanced and the insert return has an input impedance of 5k ohms unbalanced.
Operating level is -2dBu.
NOTE: The user should ensure that any device inserted into the Group signal path is capable of maintaining the signal
integrity of the console. The device must be able to accept a +22dBu signal without clipping, and have an output impedance
of 100 Ω or less and be capable of driving +22dBu into a 2k Ω load.
XLR Balanced Group Output
This is an 100 ohm electronically balanced line level output on an XLR connector designed to drive a 600 ohm load or greater.
Operating level is +4dBu
21
PRORACK HOUSE – MASTER SECTION
AUXILARY CONTROL SECTION
Auxiliary Output Level Control (1 thru 6)
This control will adjust the auxiliary output level appearing on the associated XLR
balanced output connector. This control has a range of from shut-off to +10dB of
gain above unity.
Dual-Color Bus Level LED Monitoring
This bi-color Red/Green LED monitors the signal level on the associated auxiliary mix
bus. Varying intensity Green indicates proper bus levels while red indicates the bus is
at or near overload, indicating that an auxiliary level control reduction should be
made on the associate auxiliary mix channel. The red Peak LED monitors the mix bus
output, Insert-return AND the post-level control signal levels.
Auxiliary AFL (Solo) Switch (Internally illuminated)
When selected, this switch will route post level (post insert point) auxiliary signal to
the consoles PFL/AFL Solo system for display on the consoles master meters and to
the mixers monitor/headphone system. If AFL switches 5-6 are simultaneously
depressed, contents will be monitored as a stereo Left-Right signal into the meters
and into the Monitor/Headphone system of the mixer.
22
AUX OUTPUT CONNECTORS – REAR PANEL
Balanced 1/4” TRS Auxiliary Bus-Inputs
The 10k ohm balanced inputs are provided to bring an external line level signal into an auxiliary bus prior to its level control. It may
be used as part of the system to link multiple mixers together by bring the auxiliary output signal of the slave mixer (output level set
to unity) into these auxiliary input TRS connectors. Any signal brought into these auxiliary inputs will be mixed with any other input
signals fed to this auxiliary mix bus.
Aux 1/4” TRS Insert Connector
This connector allows external processing or effects electronics to be inserted into the Aux signal path after the mix amp.
Tip= Send, Ring= Return, Sleeve= Ground. Examples of external devices include additional equalization, notch filters,
compressors, limiters, vocal doublers and harmonizers, reverb devices, etc. The insert send has an output impedance of 100
ohms unbalanced and the insert return has an input impedance of 5k ohms unbalanced.
Operating level is +4dBu.
NOTE: The user should ensure that any device inserted into the Aux signal path is capable of maintaining the signal integrity of the
console. The device must be able to accept a +22dBu signal without clipping, and have an output impedance of 100 Ω or less and be
capable of driving +22dBu into a 2k Ω load.
XLR Balanced Auxiliary Output
This is an 50 ohm electronically balanced line level output on an XLR connector designed to drive a 600 ohm load or greater.
Operating level is +4dBu
23
PRORACK HOUSE – MASTER SECTION
MASTER OUTPUTS (Left-Right-Center-Mono)
Peak/Signal Present Bus Monitor LED’s
4 individual dual color LEDs monitor the Mono, Center, Left and Right mix bus levels.
In normal operation, varying intensity of the green LED represents acceptable bus
signal levels. Should any of these levels approach clipping, the associated LED will
illuminate red. This should be an indication to the operator that the channel input
fader levels should be decreased until the red peak indicators are no longer activated.
(Overall output levels can be adjusted by raising the master fader position to offset
any decrease in level caused by lowering the input channel faders). . The red Peak
LED monitors the mix bus output, Insert-return AND the post-fader signal levels.
Mono, Center and Left/Right Level Control Faders
These faders adjust the output level appearing on the associated XLR balanced
group output connectors. Each control has a range of from cut-off to +10dB of gain
above unity. A single fader is used to control the Left/Right output level maintaining
an absolute balance for these outputs as master level changes are made. Though
two master faders are labeled as Center and Mono, these should be considered as
two separate mono outputs that are usable for whatever application that required a
mono signal derived directly from the selected input channels. These include uses
to feed a center speaker cluster (use of the Center fader suggested), a sub-woofer
feed (use of the Mono fader suggested), or uses as additional post fader auxiliary
sends or matrix outputs.
Master Output Metering (Left - Right - Center - Mono Outputs)
The output levels of the Mono, Center, Left and Right outputs are displayed on the 4
master meters. Any PFL/AFL (Solo) switch will cause the 2 right-most meters to
display the solo’d signal in place of the master output signals. These same meters
can be manually switched to display the 4 Group output signal levels.
24
MAIN OUTPUT CONNECTORS – REAR PANEL
Balanced 1/4” TRS Bus Inputs
Left, Right, Center and Mono 10k ohm balanced inputs are provided to bring an external line level signal into the Main mix
buses prior to their level controls. These may be used as part of the system to link multiple mixers together by bring the
master output signal of the slave mixer (output level set to unity) into these master input TRS connectors. Any signal brought
into these inputs will be mixed with the associated Left, Right, Center and Mono signal on the master mixer.
Main Bus 1/4” TRS Insert Connector
This connector allows external processing or effects electronics to be inserted into the Main signal path after the mix amp.
Tip= Send, Ring= Return, Sleeve= Ground. Examples of external devices include additional equalization, notch filters,
compressors, limiters, etc. The insert send has an output impedance of 100 ohms unbalanced and the insert return has an
input impedance of 5k ohms unbalanced. Operating level is -2dBu.
NOTE: The user should ensure that any device inserted into the Main signal path is capable of maintaining the signal integrity
of the console. The device must be able to accept a +22dBu signal without clipping, and have an output impedance of 100 Ω
or less and be capable of driving +22dBu into a 2k Ω load.
Line/Microphone Level Output Switches
The output level of ProRack XLR connectors is normally at +4dBu. This is designed to drive most amplifiers to their maximum
levels or signal processing equipment to their optimum levels. In some situations you may need to plug the output of this
mixer into the microphone input of another mixer or sound system. By depressing the Mic/Line switch next to the associated
XLR output connector, output signal levels will be reduced approximately 30dB to normal microphone levels. This signal now
can be applied to the microphone input channel of another mixing device. (Warning – Make sure that phantom power is
turned OFF on the microphone input of the mixer into which ProRack is being connected or damage may result).
Mono, Center, Left and Right XLR Balanced Outputs
These outputs provide a +4dBu balanced line level output (100 ohm symmetrically-balanced) signal for each of the consoles primary
outputs.
When Mic Level is selected, output impedance is 200 ohms and operating level is –25dBu.
25
PRORACK HOUSE – MASTER SECTION
HEADPHONE AND MONITOR SYSTEM
Headphone Level Control
This control adjusts the level being fed to the headphone system.
1/4” And 1/8” Headphone Connectors
A 1/4” and a 1/8” set of headphone connectors are located on the front panel of the console.
Monitor (Speaker) Level Control
This control adjusts the stereo level being fed to the Monitor TRS output connectors of the
mixer.
Monitor/Headphone Source Selection Switches
These 5 switches determine the default audio source for the Monitor system (Monitor
and Headphone outputs). The first 4 switches select from the internal buses: Mono,
Center, L-R and Aux 5-6. These 4 sources are equally mixed together when their
corresponding switch is depressed; any mono sources are sent equally to the L & R sides
of the monitor circuitry. When Solo is active (PFL or AFL), the Solo audio signal interrupts
this default source and only the Solo audio is fed to the monitor circuitry (*See below)
Mono (M) Headphone/Monitor Source Switch
When selected, this switch will route a post master fader Mono signal equally to the left
and right stereo headphones and monitor level controls as a “phantom center” image.
Center (C) Headphone/Monitor Source Switch
When this switch is selected, it will route a post master fader Center signal equally to the
left and right stereo headphones and monitor level controls as a “phantom center”
image.
Left-Right (L-R) Headphone/Monitor Source Switch
When selected, this switch will route a post master fader left-right signal to the left and
right stereo headphone and monitor level controls.
Aux 5-6 Headphone/Monitor Source Switch
When this switch is depressed, it will route a post level control Aux 5 (left) and Aux 6
(right) stereo signal to the monitor system. This allows for monitoring of this set of
auxiliary outputs as a default signal without using the Solo system. This is useful when
Aux 5-6 are being used to generate a separate broadcast output.
External Input Headphone/Monitor Source Switch
When this switch is selected, it will route an external input to the headphone and
monitor system from the rear panel left and right external input connectors. (On older
consoles, this input was usually referred to as tape inputs).
* When this switch is depressed, it will override ALL other audio sources that may
be selected for monitoring, including any Solo signal (PFL or AFL). If nothing is
being fed to the External Line Inputs (on rear), then NOTHING will be heard in
Monitor and Headphone outputs. Check this switch first if the headphones seem to
be not working.
STEREO ALTERNATE OUTPUTS
Stereo Alt Output Level Control
This control adjusts an alternate Left and Right stereo output that can be used to feed an
external recording device or additional physical location (such as a cry room). In addition to
the Left & Right buses, the mixer’s Center or Mono buses may also be mixed in with the left
& right signals if desired (see below).
Add C(enter) To L-R
Adds the signal from the Center bus to the Left-Right Stereo Alt Outputs. This enables an LCR
console output to be sent as a Left-Right signal to a recording device while in the FOH system
the signals are still separated into a Left-Right music system and a Center vocal only system.
Add M(ono) To L-R
Adds the signal from the Mono bus to the Left-Right Stereo Alt Outputs. This enables the Mono
bus output to be added to the left-right mix and used as an overall Left-Right signal to recording
device.
All of the signals feeding the Stereo Alt Out section are after the main faders (Post Fader)
26
PRORACK HOUSE – MASTER SECTION REAR PANEL
Rear Panel Monitor Output Connectors
Impedance Balanced 1/4” output connectors are provided for Left and Right monitor speaker outputs. An additional 1/4” Impedance
Balanced output connector is provided which is a sum of the Left, and Right signals. This connector may be used as a summed mono
output to feed a sub-woofer system or to drive a mono wedge monitor system when the console is used as a monitor console.
External Input Connectors
Balanced 1/4” input connectors are provided for monitor of an external signal such as monitoring a signal directly off of a radio
broadcast; separate left & right connectors are provided. If a mono source needs to be monitored, plugging into just the Left
input jack will feed the signal to both the left & the right sides of the monitor system.
1/4” Left and Right Stereo Record Output Connectors
An impedance-balanced left and right 1/4” TRS connector is provided at a +4dBu operating level for the Stereo Record Output.
(Output Impedance = 100 ohms Impedance Balanced).
RCA Stereo Alt Outputs
RCA connectors are also provided for low level outputs (-10dBV) of the stereo record output signal to better match the input
requirements of consumer grade recording devices.
SOLO (PFL/AFL) LINKING SYSTEM
Two 5-pin DIN connectors, labeled In and Out are provided that allows for ProRack Solo systems to be linked together allowing a
single set of headphones to be employed rather than requiring the use of separate headphone on each mixer. This Solo-linking
system can also be used with our larger Spectra consoles if they are fitted with the Solo Linking option.
27
PRORACK HOUSE – ADDITIONAL FEATURES
LAMP AND DIMMER SYSTEM
4-Pin XLR Lamp Connector
A four-pin XLR connector can be used with a Littlite® or other similar gooseneck
lamp. Compatible with Hi-intensity (Halogen), regular incandescent or LED lamps. A
straight, 12-inch length gooseneck works best for this console. A locking connector
is provided for this lamp which must be depressed and held while removing the
plug in lamp. Positive voltage on Pin-4, 0V on Pin-3, NC on Pins 1&2. An internal
resettable fuse protects against shorts on this connector. Maximum draw is 350mA
@ 12V.
Lamp Intensity Control
A recessed trimmer control is provided adjust the brightness of the plug-in lamp.
This may be adjusted with a small flat-blade or jeweler’s screwdriver. Maximum
brightness is achieved by turning this control to its full clockwise position (12V);
minimum brightness at full counter-clockwise (< 2V).
ROTATING CONNECTOR POD
The rear connector chassis may be rotated between three different locking positions. When used freestanding on a desktop, the fully
opened 90-degree position is recommended. When mounted in an upright rack, the 180-degree position may be selected. In an
angled rack, a mid position may also be selected. The connector panel is locked into position using two #10-32 screws on each side
of the panel. Remove these screws before trying to rotate panel or damage (maybe to you) may result. It is suggested to reinstall
these screws once the panel position is selected. Do not transport the mixer with the rear panel unsecured. See the following pages
for additional mounting information.
28
ProRack Power Supply
Model PRPS-60
6 screws are located along this lower flange to
mount the power supply assembly to the rear of
the ProRack chassis. #6-32 x 1/4” Hex-drive Panhead
Ventilation slots- keep these clear of any obstructions
when using the ProRack.
Air is drawn in through these slots and exhausted
through slots in the ProRack chassis
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AC
Power Sw
AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR
Off
WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO
Power
NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. THE
APPARATUS MUST NOT BE EXPOSED TO DRIPPING OR
SPLASHING AND NO OBJECTS FILLED WITH LIQUIDS, SUCH
AS VASES, SHOULD BE PLACED ON THE APPARATUS.
On
AVERTISSEMENT:
AFIN DE PRÉVENIR TOUT RISQUE DE FEU OU DE CHOC
ÉLECTRIQUE, ÉVITEZ D’EXPOSER CET APPAREIL À LA PLUIE
OU À L’HUMIDITÉ. NE PAS PLACER DE RÉCIPIENT DE LIQUIDE
À PROXIMITÉ DE L’APPAREIL, AFIN D’ÉVITER DES
ÉCLABOUSSURES OU RENVERSEMENTS SUR CELUI-CI.
IEC AC
Inlet
MOUNT IN RACK ONLY
INSTALLER SUR SUPPORT DE MONTAGE SEULEMENT
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
DynaSonics
AC IN
100-240V
50 / 60 Hz
70W
ProRack Power Supply
Model PRPS-60
ProRack™ Series
Designed and Built in the USA
Audio Connections
1
2
3
1= Chassis
2= Out +
3= Out –
XLR Outputs
2
1
3
1= Chassis
2= In +
3= In –
XLR Inputs
T= In +
R= In –
S= Chassis
Line/Bus Inputs
T= Send
R= Return
S= Audio Gnd
Insert Wiring
T= Out +
R= Out Rtn
S= Chassis
Dir Outputs
APB-DynaSonics
20 West End Road
Totowa, New Jersey 07512
www.apb-dynasonics.com
The power supply for the ProRack is designed to be easily field-replaced:
6 screws secure it to the rear panel of the ProRack; a captive wire-lead with locking connector is used to
mate with the circuits within the Mixer. A small internal fan circulates air through the supply into the Mixer.
All internal power supply assemblies are medically-rated and agency approved (UL/CSA/VDE/CE).
There are no user-serviceable parts inside; heed all printed warnings.
Input Voltage: 100 to 240 VAC 50/60Hz
Input Power: <72W
AC Mains Connector: IEC 15A Receptical
ProRack is supplied with mating IEC cordset with either an Edison-plug (USA/Canada) or Euro-plug (Export)
DC Output Voltages & Currents (as used by the ProRack):
+17.6V @ 1.3A
-17.6V @ 1.3A
+15V @ 1A
+48V @ 0.2A
DC Output Connector: 7-Way Molex 0.156” pitch
10.5
(267)
Note Different Position Of Locking Screws
For Each Orientation Of The Rear Chassis:
#10-32 X 1/4” UC Flat-head Phillips
2 Per Side To Secure The Rear Chassis
3
(77)
The Rear Chassis can freely
rotate from a fully-open
position (90°) to fully-closed
(180°). 3 locking positions are
provided using 2 screws per
side to secure the chassis.
3
(77)
17.5
(445)
11.5
(292)
AC power switch located
on this side of power supply
(hidden by mounting ear)
IEC AC Inlet located
on this (right) side of
power supply
15
(381)
MOUNTED IN A VERTICAL RACK
SIDE VIEW (UNFOLDED)
MOUNTED IN A SLANT-RACK
SIDE VIEW (HALF-FOLDED)
4.85
(124)
Typical XLR and TRS plugs
(Shown for reference only)
17.5
(445)
Knob height= 0.75 (19)
10
(254)
2
(51)
20.25
(515)
USED AS A DESK TOP MIXER
SIDE VIEW
MOUNTED IN A VERTICAL RACK
SIDE VIEW (FOLDED)
Dimensions shown for the different orientations
Given in inches and (mm)
-to the closest 1/4” or mm Weight= 34 lbs (15.5kg) for all orientations
Shipping Weight (boxed)= 40 lbs (18kg)
ProRack Mounting Options
Balanced Out
M-XLR Pin-2 Hot
Solo System is linked between Consoles with a single DIN cable:
Each end fitted with 5-Pin circular DIN connector wired pin-to-pin
with 5 conductor (overall) shielded cable. Shield tied to connector shell
at both ends of the cable.
To ensure correct mixing levels into the Master console,
all bus output controls on the Slave console should be set to “0” (unity).
16-way XLR to 1/4” TRS Audio Snake can be used
- Slave Console -
Solo Linking Out
5-Pin Circular DIN
Wired Pin-to-Pin
w/overall shield to Shell
Repeat this connection for each of the Bal-Out / Bus-In pairs
that will be shared across the 2 consoles.
14 connections needed to tie all like-buses together
6 Auxes, 4 Groups, 4 Main (M, C, L, R)
Audio signals from all buses in the Slave Console are mixed
into the Master Console buses at unity gain.
Solo also monitored from this Mixer
- Master Console -
Solo Linking In
5-Pin Circular DIN
Wired Pin-to-Pin
w/overall shield to Shell
Balanced Bus-In
TRS Tip= Hot
Interconnecting two ProRack Mixers
as Master and Slave
32
TECHNICAL SPECIFICATIONS
General Specifications
Frequency Response (any input to any output)
THD + Noise (Mic Input to Main Output)
Phase Response (Mic Input to Main Output)
+0/-0.5dB 20Hz to 20kHz (ref to 1kHz)
<0.01% @ +15dBu output
+10/-15 degrees 20Hz to 20kHz (ref to 1kHz)
Noise
Mic EIN
Main Bus (L-R-C-M) Output Noise
Group Bus (1-4) Output Noise
Aux Bus (1-6) Output Noise
-128dBu @ 60dB gain, 150Ω source
-85dBu (All channels assigned w/faders down, Master faders
at unity)
-85dBu (All Chan assigned w/faders down, Group Master
fader at unity)
-90dBu (Aux Sends down, Aux Master at unity)
Crosstalk (measured at 1KHz)
Channel Mute
>100dB
Channel Fader Attenuation
>100dB
Channel Routing
>80dB
Channel Pan Isolation
>80dB
Channel to Channel Isolation
>90dB
Aux Send Attenuation
>90dB
Aux Pan Isolation
>70dB
Input / Output Impedance
Channel XLR Input
Channel Line Input (via TRS)
Channel Line Input (via XLR w/Pad)
Channel TRS Direct Out
Bus XLR Outputs (Main, Group, Aux)
Channel and Bus Insert Sends/Returns
Monitor TRS Outputs
>3KΩ Balanced (with or without Pad)
>20KΩ Balanced
>4KΩ Balanced
100Ω Impedance-Balanced
100Ω Symmetrically-Balanced (To Feed 600Ω or greater)
100Ω Unbalanced / 5KΩ Unbalanced
(To Feed 2kΩ or greater)
100Ω Impedance-Balanced
Input / Output Levels
Channel Insert
+4dBu (Tip= Send, Ring= Return, Sleeve= Audio Gnd)
Max Out= +22dBu
Channel Direct Out
+4dBu (TRS Impedance Balanced, Tip= “Hot”)
Max Out= +22dBu
XLR Balanced Outs
+4dBu (Symmetrically-Balanced, Pin 2= “Hot”)
Max Out= +26dBu
TRS Balanced Outs
+4dBu (Impedance-Balanced, Tip= “Hot”)
Max Out= +22dBu
Bus Insert
-2dBu (Tip= Send, Ring= Return, Sleeve= Audio Gnd)
Max Out= +22dBu
33
APB-DynaSonics ProRack-FOH Owners Manual ver 0.91