I got the chance to use the ProRack last week at a local festival. 10 bands played through the ProRack that day. Our stage had that at FOH, along with 2 ADRaudio U103 on top of 3 ATA 118 subs per side. Two subs per side were used, one on each side was just lifted the tops a bit. 4 ADRaudio M1225 were used for monitors. The 4 monitor mixes were mixed from FOH.
It was a festival type setup, 4 piece drum kit, no more than 2 guitars at a time, 4 vocals, and a few DI's.
The entire system was incredibly linear. What went in was exactly what came out. The ProRack does not have a sound to it. Along with the ADR speakers, it is extremely transparent. The EQ on the ProRack, just like APB's other consoles is extremely responsive. The amount of output from those little ADRaudio boxes is amazing. Honestly, we would have been fine cutting a 103 from each side.
The big complaint I've been hearing about the ProRack is the fact that there is no space to label the channels. I made a little workaround for that though. I put the artists tape at the lower corner, half hanging off. I then took another piece of the tape and placed it upside down, half on the first piece, and half on the bottom of the mixer. That worked for me.
A great feature on the ProRack is the high pass filter. I haven't seen those very often, or really at all, on rackmount mixers. Same with the digital rackmounts; my 01v96 doesn't have that without getting rid of an EQ band.
I like the little group faders on the upper right of the mixer. I ran the four vocals through each of those, to bypass the compressors for the monitor mix.
Everyone at APB did a great job fitting so much into the ProRack. I look forward to using it again. That, and Jason Dermer isn't actually that big of a douche bag.
Every time I'm working with him, I end up learning something new, and he's really helped with getting my foot in the door in the live sound world.
Thanks Jason!