Soundcraft K3 BROCHURE

K3 Theatre Typical Specifications

722.80mm

28.45"

795.80mm

31.33"

110.10mm

4.33"

9.80mm 0.38"

262.28mm

10.32"

373.40mm

14.7"

Connections Impedance Level

Low Impedance Input (XLR) 1.6kΩ balanced . . . . . . . . . . . . . . . . . . . . -70dBu to +10dBu (+30dBu max)

High Impedance Input (Jack) >10kΩ balanced . . . . . . . . . . . . . . . . . . . -20dBu to +10dBu (+30dBu max)

Insert Send (Jack) 75Ω gnd comp/bal option. . . -2dBu (+21dBu max)/+4dBu (+21dBu max)

Insert Return (Jack) >10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . -2dBu (+4dBu)(+21dBu max)

Direct Out (Jack) 75Ω balanced. . . . . . . . . . . . . . . . . . . . . . . . -2dBu (+26dBu max) into 5kΩ

FX Return (Jack) (+4dBu)>10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu max

(-10dBV)>10kΩbalanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12dBV max

2 - Trk Input (Jack) (+4dBu)>10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu max

(-10dBV)>10kΩbalanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12dBV max

Group Insert Send (Jack) 75Ω gnd comp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2dBu (+21dBu max)

Group Insert Return (Jack) >10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2dBu (+21dBu max)

Group Output (XLR) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max) into 1kΩ

Aux Output (Jack) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max) into 1kΩ

Matrix Output (XLR) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max) into 1kΩ

L/R/Mono Insert Send (Jack) 75Ω gnd comp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2dBu (+21dBu max)

L/R/Mono Insert Return (Jack) >10kΩ balanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2dBu (+21dBu max)

L/R/Mono Output (XLR) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max) into 1kΩ

EQ and Filter

HP Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Hz

Slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12dB/Oct

HF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1kHz to 16kHz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dB

Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.5/Shelf

HMF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400Hz to 7kHz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dB

Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.6/1.3

LMF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Hz to 1.1kHz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dB

Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.6/1.3

LF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Hz to 500Hz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dB

Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.5/Shelf

Auxiliaries

1/2, 3/4, 5/6, 7/8 Pre/Post fade switched

Oscillator

63Hz to 10kHz/Pink Noise variable level

Frequency response

Any input to any output (measured at up to +50dB gain) +0/-0.5dB, 20Hz -20kHz

THD and Noise

High impedance I/P to Group or Mix O/P (measured at +20dBu output) Less than 0.005%THD@ 1kHz
Mic input EIN (22Hz - 22kHz bandwidth, unweighted) Less than -127.5dBu (150Ω source)
Mix bus output noise (24ch routed) Less than -81dBu

Crosstalk (All measurements at 1kHz)

Channel muting and Channel fader attenuation Greater than 90dB
Channel routing Greater than 85dB

Dimensions (Width/Weight)

CH mm inches kgs lbs

16 858 33.8 30 66
24 1112 44.8 39 86
32 1366 53.8 48 106
40 1620 63.8 57 126
48 1874 73.8 66 146

SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD.
CRANBORNE HOUSE, CRANBORNE RD.,
POTTERS BAR, HERTS, EN6 3JN, UK.
TEL: [phone]
FAX: [phone]
EMAIL: [e-mail]
http://www.soundcraft.com

SOUNDCRAFT USA
1449 DONELSON PIKE
NASHVILLE TN 37217, USA.
TEL: [phone]
FAX: [phone]
EMAIL: [e-mail]

Part No. A4; ZL0249

Soundcraft reserve the right to improve or otherwise alter any information
supplied in this document or any other documentation supplied hereafter.
E&OE 02/01

US; ZL0250

Note: These figures are typical of performance in a normal electromagnetic environment.
Performance may be degraded in severe conditions

Console shown with optional overbridge fitted

Creative Control

The world of professional sound
reinforcement demands better
performance and more facilities than ever
before. At all levels, whatever the
application, engineers are looking for both
uncompromised sound quality and
advanced mixing features. This is why
Soundcraft has created K3 Theatre.

This modular 8-bus mixer has been designed
to satisfy today’s requirements for high
quality mid-range sound reinforcement
consoles. That means advanced mute scene
setting and MIDI control, plus ‘big console’
features, such as sophisticated and precise
EQ, input metering, an advanced solo
system, and eight pre/post auxiliaries. If
your monitoring requirements are more
complex then you can team your K3
Theatre up with Soundcraft’s
SM12 monitor console, which
provides the flexibility of
14 foldback mixes.

the rear panel XLRs are gold-plated and
inside, the circuit boards employ advanced
surface-mount technology.

The compact frame with its low sightline
will fit in almost anywhere, and ensures
excellent visibility from the mixing
position. Larger K3 Theatre consoles, of
24-channels and above, can be fitted with
an optional meter bridge.

K3 Theatre is the latest in a line of
advanced PA console designs, running
from the award-winning 200 Delta,

effects returns, are available at the touch
of a button.
Integrated MIDI control facilities allow
the user to select programs in external
effects units automatically when a mute
scene is selected, and the DataFader
provides real-time fingertip control of
parameters via MIDI Continuous
Controller information. For the first time,
a console in this class combines audio
excellence with truly integrated MIDI
control facilities.

8-bus routing allows convenient
grouping of channels, and there are
advanced solo facilities, based on those

found on

MORE CHOICE

A wide range of options means that
K3 Theatre can be configured for a
variety of needs, with a choice of
mono or stereo input modules, EQ or
FX dual group output strips, MIDI
modules, master output channels, and
a powerful matrix section that allows a
12x4 matrix to be fitted in the space of a
single input module.

THE PROFESSIONAL MIXING PEDIGREE

Delivering all this in an elegant,
ergonomically designed package, is no
mean feat. But Soundcraft’s continued
success through almost 25 years at the
top of the sound reinforcement business

has only been possible through an

alliance of smart

K3 Theatre delivers an
unprecedented degree of mixing
control in a versatile package that will
integrate into a wide range of live and
installed sound situations. It offers an
extensive range of frame sizes and
modules, enhancing the inherent
versatility of a modular 8-bus
configuration.

But versatility is nothing without quality
to match – K3 Theatre is designed and
engineered to Soundcraft’s customary high
standards. That means it’s built to last,
with a rugged steel chassis protecting its
circuitry and no compromises in design or
component specification throughout. All

through
the innovative and
cost-efficient SM12 monitor
console, to the class-leading Venue II. And,
as with those popular standards, K3
Theatre comes with the unique pedigree of
leadership in sound reinforcement
technology that only Soundcraft can
deliver.

CONTROL AND VERSATILITY

Other advantages apart, K3 Theatre
introduces a unique MIDI and muting
system. 128 mute scenes, controlling
mutes on all channels, groups and stereo

Soundcraft’s SM series
of dedicated monitor consoles,
which allow the engineer to quickly
isolate problems such as feedback
sources. Insert points, employing
separate jacks throughout for the option
of a fully balanced signal path, allow
external processors to be inserted in
channels, groups and the mix busses.

design with
advanced manufacturing – a
combination which guarantees that K3
Theatre will fulfil the requirements of
the most demanding production.

K3 Theatre represents the next generation
of mid-range PA consoles from
Soundcraft, offering the ultimate in
control and quality. The modular 8-bus
design builds on the success of the
award-winning Venue II, providing
options such as a choice of dual group
modules, a stereo input module, and a
powerful matrix module. K3 Theatre is
designed for sound reinforcement mixing
in a variety of situations, from installed or
mobile theatre sound to presentations,
audio-visual events, and live band concert
hall front-of-house.

THE K3 THEATRE DIFFERENCE

The advantages of K3 Theatre become
obvious as soon as the first source is
plugged into the desk – whatever its level,
the same XLR socket will take the signal via
K3 Theatre’s wide range input stage into the

choice of shelving or bell characteristics for
the high and low frequency sections, and
switchable Q for both mid bands. A separate
high-pass filter removes unwanted rumble
and mic popping and leaves the semi­parametric LF controls to be used creatively.

For maximum flexibility when setting up
monitor mixes and effects sends, all eight
auxiliaries are pre/post switchable in pairs –
K3 Theatre can always provide the right
combination, at the touch of a button. And
individual group output routing,
independent of the pan control, completes a
channel input strip designed for total
flexibility, allowing complex front-of-house
and monitor mixes to be controlled with
ease and confidence.

The advanced solo circuitry with Auto
Cancel and Solo Clear functions allows

touch of a button,
thanks to the
integration of MIDI
with the 128 mute
scenes, controlling inputs,
group masters and stereo
returns. Spot effects or
atmospheres can be triggered via MIDI at
the moment a channel is un-muted. K3
Theatre allows combinations of mutes on
groups of mics or instruments, handling the
toughest of live mixing challenges. Any live
event, however, varies from night to night,
and the real-time parameter control
afforded by the DataFader means that the
operator can respond to the all-important
dynamics of a performance. Precise real­time adjustments can be applied to any
parameter that can be placed under
continuous MIDI control; such as reverb
decay to compensate for acoustic changes

foyer, or a central
speaker cluster in
the auditorium. The

with optional meterbridge

K3 Theatre

optional 12x4
matrix module
makes light work of

creating sends to
multiple speaker stacks, and providing
foldback to on-stage and back-stage areas;
the number of outputs is easily increased by
adding further Quad Matrix modules. In
addition, an optional line-level stereo input
module provides similar EQ and routing
flexibility while saving yet more space. And
for sub-group output, there is a choice of
two dual group modules - one providing
powerful EQ, the other offering a stereo FX
return with fader control. And additional
dual group modules can be employed to
provide fader controlled aux master sends,
further enhancing K3 Theatre’s foldback and
FX facilities.
The K3 Theatre console is available in 16,
24, 32, 40 and 48-channel frame sizes, with
eight mono groups and eight auxiliaries. The
choice of frames and modules means that a
desk can easily be configured to match your
needs and budget. And the management
can rest assured that, with compact design
and high module packing density, all this
mixing power comes without the loss of
valuable audience seating space.
Above all, however, K3 Theatre brings
confidence to the mixing process, with
excellent ergonomics. Illuminated switches
for all critical functions, logical colour
coding of controls, LED channel metering,
and an optional VU meterbridge, all go to
ensure that K3 Theatre consistently delivers
top quality live mixing results.

channel strip; and a high impedance jack
socket is also provided. Input gain is
adjusted by a Range switch and a single
rotary control. And phantom power on
every channel means that +48V DI boxes
may be connected with ease.

With K3 Theatre’s precise and powerful EQ,
intelligibility and creative control are
assured. All four bands are swept, with a

quick and easy troubleshooting of a
complex mix. Solo-in-place is also provided,
enabling the engineer to run through each
input during a soundcheck and hear each
source in its stereo position with any
associated effects.

MIDI and mute control also offer advanced,
yet accessible, facilities. Effects programs or
instrument patches can be changed at the

between venues, or for decreased
reverberation time as the venue fills up.
MIDI SysEx facilitates the saving and
loading of MIDI and mute configurations
between individual productions.

Good routing is essential, especially with
multi-speaker sound systems. K3 Theatre’s
Master Module provides a mono mix bus for
applications such as a show relay in the

K3 Theatre Modules and Rear Connectors

Typical Configurations

Input

The K3 Theatre Input Module, as fitted to
the K3 Theatre, offers an advanced input
facility for a single mic or line source. A
high-impedance jack and a balanced XLR
input are provided, with switchable
phantom power to the XLR. The input amp
employs a padless design, with a rotary
sensitivity control and Range switch that
enables the XLR input to accept signals
from -70dBu to +10dBu. Phase reverse is
available.

Pre-EQ insert points are provided for
additional signal path processing, with
separate ground compensated send and
balanced return jacks.

The 4-band EQ section features four swept
bands, each with 15dB cut/boost. Both the
high and low bands offer switchable
bell/shelving operation, and the two mid
bands have a choice of two Q settings
(1.3/2.6). The entire EQ section can be
switched in and out at the touch of a
button, and an additional high-pass filter is
provided for dealing with unwanted low
frequencies.

The SOLO switch feeds the pre-fade, pre­mute signal to the monitor and phones
outputs. Pressing solo cancels all other
solos or AFLs if Auto Cancel is active. If
solo-in-place is active, pressing SOLO will
mute all other channels.

The channel can be muted via the
electronically latching CUT switch, which is
also used to assign the channel to a mute
scene. Integral LEDs on the SOLO and CUT
switches make it easy to check which
channels are active in the mix.

Individual rotary send controls are provided
for all eight aux busses, switchable in pairs
between pre and post-fade operation.
Internal jumpers allow the pre-fade signal
to be post-mute, pre-mute, or pre-EQ/pre­insert. A DIR switch allows Aux1 to be re­routed to the channel direct output on the
rear panel.

The channel signal can be
routed, via a 100mm fader
and a pan control to the
stereo mix bus, individually
to the groups, and to the
mono bus. 8-segment LED
input meter and a peak
LED, adjacent to the
channel fader, provide an
accurate check on input
levels.

Module options:
Transformer balancing.
Parallel multiway
connector.
Balanced insert send.

Stereo Input

The Stereo Input Module provides input
facilities for stereo line level sources in a
single-width module which may optionally
replace any K3 Theatre Input. The stereo
source is switch selected from two sets of
balanced jack inputs on the rear panel. 3­band EQ is provided, with a swept mid
band. A WIDTH control provides extensive
variation in image width, from mono
through normal stereo (centre detented) to
phase-enhanced wide stereo.

Solo and mute facilities operate as on the
mono channels.

The eight independent aux sends are post­fade mono signals, except for 7 and 8
which can be switched by internal jumpers
to stereo operation.

The channel signal is routed in stereo to
pairs of groups or the stereo mix bus via a
balance control and the 100mm fader, or in
mono to the mono bus. 4-segment LED
metering is provided next to the channel
fader.

Module options:
Transformer balancing
Parallel multipin connector.

Dual Group/EQ Module

The module contains two group output
sections, with integral metering, and two
3-band EQ sections above the group
master faders. The module is intended to
function either as a subgroup master
section with group EQ or, alongside the
normal subgroup section on a console, as a
fader-controlled aux master section.

Insert send and returns are provided on
separate jacks, for additional processing of
grouped signals. The group output appears
on a balanced XLR.

Each EQ section features shelving high and
low bands, with 15dB of cut/boost at 60Hz
and 12kHz, and a swept mid band covering
250Hz to 4kHz.

The two group signals are controlled by
100mm faders and can be routed to the
mix bus in stereo or mono. In stereo mode,
odd numbered groups are routed to the
left mix bus and even numbers are routed
right, whilst in mono mode both groups go
to the centre of the stereo image.

20-segment LED bargraph meters provide
accurate monitoring of post fade output
levels, and can be set via internal jumpers
to peak or average response.

The AFL switch sends a post fade group
signal to the monitor and phones outputs,
with the same intercancel facility as on
mono channels.

Mute facilities also operate as on mono
channels, and may be assigned to mute
scenes.

Input
Stereo Input
Dual EQGroup

Dual FX Group
Master Module

MIDIScene Set Module
Blank Module

Quad Matrix Module
Meterbridge

24 Inputs • 4 Dual EQ Groups • 1 MIDI
Scene Set Module • 1 Master Module • 1
Blank Module

The basic configuration provides the operator with
a compact, cost-effective 24-channel package with
four band mid-sweep EQ, stereo routing to groups,
three band equalisation on group outputs and full
MIDI muting for inputs and groups, as well as
control of external devices, making this an ideal
choice for installations where size is a priority.

40 Inputs • 4 Dual FX Groups • 1 MIDI Scene Set Module • 1
Master Module • 1 Blank Module

This 40 channel touring configuration offers four-band swept mid input EQ,
stereo routing and four segment LED input meters. An eight way
meterbridge is fitted, giving VU indication of Group, FX Return or Aux
signals. The 40-channel configuration gives a convenient split layout for
multiple-act events.

24 Inputs • 4 Dual EQ Groups • 1 MIDI Scene Set
Module • 1 Master Module • 8 Stereo Inputs • Quad
Matrix Module

This compact 32-channel frame has been adapted to allow 40
inputs, and is optimised for theatrical productions requiring a
high degree of pre-recorded playback material. 24 mono and
eight stereo line level inputs may be connected, to provide
precise control over individual on-stage microphones and
instruments, while saving space and cost in pairing the stereo
lines.

40 Inputs • 2 Stereo Inputs • 8 Dual FX Groups* • 1 MIDI Scene Set
Module • 1 Master Module • 3 Quad Matrix Modules *4 used as Aux

Masters

This fully-featured 44-channel theatre console includes inputs for 40 mono mic or line
sources and two stereo inputs for playback machines. Eight groups with four stereo FX
returns are provided, as well as a 12 x 12 output matrix. The Auxiliary outputs utilise
group-style output modules for use in critical foldback applications, providing insert
points, fader control, metering and additional stereo returns. The compact frame ensures
that the largest console will fit into a modest control space.

Dual Group/FX Module

This module contains two identical group
output sections, plus a fader-controlled
stereo input for effects returns or
additional line level sources. Like the Dual
Group/EQ module, Dual Group/FX modules
can also be used to create fader controlled
aux master sends, providing a stereo
effects send, return and metering in one
module width. The pre-fade insert point
allows dynamics or other processors to be
used across a section of the mix. The
output is on a balanced XLR connector.

Group output and metering facilities are
the same as on the Dual Group/EQ Module,
though the meters can also be switched to
display the stereo return signal.

The stereo return section features a WIDTH
control, as on the stereo input channels,
enabling the operator to manipulate the
stereo line source before routing to the
mix. 2-band shelving EQ, at 60Hz and
12kHz, provides tonal balance control, and
the stereo signal is routed via a balance
control and a 60mm fader to any pair of
groups, to the stereo mix bus, or in mono
to the mix bus. Aux busses 1-4 can be
addressed from the stereo return, via two
rotary send controls, switchable to 1 and 2
or 3 and 4. Pre or post-fade status is set by
internal jumpers.

Full muting facilities are available on both
the group output and stereo return, with
PFL or solo-in-place on the return and AFL
on the group output.

MIDI Scene Set Module

The MIDI Scene Set Module contains all the
K3’s facilities for internal mute
configuration and external MIDIcontrol.
Up to 128 mute groups can be set up and
selected from the front panel. In addition,
the module can transmit a MIDIprogram
change message on any channel when
recalling a scene, to change an effects
program, or select a new preset on an
external device. MIDIcontrol can also
operate the other way around, using an
external unit to select mute scenes or
individual channel cuts on the K3. Any of
the 128 mute groups can be instantly
accessed by each of the 8 scene recall
buttons.

The DataFader on the MIDI module gives
accurate control over almost any
parameter on a range of effects and other
units, such as reverb depth or pre-delay,
using MIDIcontinuous controllers. Any
single controller on any channel may be
assigned in this way for each cue.

A PREVIEW button is provided, which
allows the operator to visually check any
scene without forcing its operation.

Additionally, an ALL function allows a
common set of mutes to be copied to every
scene before individual adjustments and
programs are set. MIDI SysEx dumps in and
out allow entire shows to be stored and
recalled.

Quad Matrix Module

The single-width Quad Matrix Module
provides facilities for distributing signals to
a multiple speaker system which is,
especially useful in theatre applications.
Each matrix send can be fed from the eight
subgroups, from the mono and stereo mix
busses, and from a stereo external input at
the rear of each matrix module.

The external input can be set, by jumpers
on the PCB, either to feed a mono sum
signal to each matrix output or to feed the
left input to odd numbered outputs and
the right input to even numbered outputs.
The slimline design of this module means
that a full 12x4 matrix can be fitted into a
console at the cost of only one input
module.

K3 Theatre consoles are fitted with one
blank module which may be used for the
first Quad Matrix Module.

Outputs appear on individual balanced XLR
connectors; external inputs utilise balanced
jacks.

Manual CUT and logic-controlled AFL
buttons are illuminated for ease of use.

Master Module

The Master Module contains all controls for the stereo mix bus, mono
and monitor outputs, plus master solo controls, oscillator, and 2-track
returns. The stereo mix left and right signals are controlled by 100mm
faders, and appear on balanced XLRs at the rear panel.

The pre-fade master bus insert points employ a ground-compensated
send and a balanced return, on separate jacks. The mono bus output
can be controlled either by the right hand fader, with the left hand
fader providing stereo level control, or fixed at unity gain if the faders
are used as a regular L/R pair. The Fader Mode switch is recessed
below the front panel.

Two 2-track returns, both electronically balanced, are provided on rear
panel jacks. Either can be routed to the post-fade stereo bus, via a
level control, and monitored by pressing the 2TRK button on the
monitor output section before routing to the mix.

The advanced logic-controlled solo system offers PFL (pre-fade listen)
on inputs and AFL (after-fade listen) on outputs. The summed signals
appear at the monitor and phones outputs, overriding the stereo
master signal that normally appears there. The Solo Clear button
lights when any PFL or AFL is active – pressing it clears the solo.

When Auto Cancel is selected, selecting any PFL or AFL will cancel any
currently active solo, so only one of these can be active at any time.
Solo-in-place is also available via the SIPbutton, muting all channels
apart from that selected for solo. All channels can be protected from
muting in this way via internal jumpers.

Two 20-segment meters at the top of the module read the post-fader
stereo mix output level, or the 2-track return input. A third meter
monitors the post-fade mono level, and AFL or PFL signals.

The talkback section provides an XLR input for a dynamic mic.
Talkback can be routed to groups or aux busses, or to another console
via the talkback output XLR. 2-way automatic communication with
another Soundcraft console (eg. an SM12) is achieved via the external
talkback in/out connections. The oscillator may be used to produce
pink noise or a sine wave, between 63Hz and 10kHz, in two ranges.

The eight auxiliary sends are each routed via a rotary control to a
balanced jack on the rear panel. AFLis provided, and internal jumpers
allow the rotary controls to be disconnected so that additional group
modules can provide fader-controlled aux sends.

SM12-The stage partner of K3 Theatre

For situations where monitoring requirements are
complex enough to require a separate console, the
SM12 is designed as a stage partner for live mixers
such as K3 Theatre. Offering 14 foldback mixes, it
is the all-encompassing monitoring solution for
touring or fixed PA applications.

Soundcraft’s unique advanced solo system, as used
on the SM16 and SM24 consoles, speeds up
soundchecks with its logical method of operation
and reduces the risk of feedback by quickly
isolating problematic sources. Every input channel
features a wide range XLR connector for mic or line
level input, together with phantom power, phase
reversal, and low frequency roll-off. The EQ section
features four sweepable bands, and the twelve aux
sends are switched in pairs to be pre or post fade.

The SM12 is fitted with six dual output modules,
each of which accepts an external input for
submixing or FX returns. Meters are 16-segment
LED bar type and are selected internally to read
either peak or average. A phase reversal switch will
correct non-standard wiring or help cancel
feedback on stage. The master module contains
controls for the stereo mix, engineer’s output, solo
system and talkback facilities. The engineer’s
output may be used in stereo or mono as required,
and is controlled by a long-throw 100mm fader. A
stereo mix is also provided, for use as a side fill
send or as a master L-R for front-of-house.

The SM12 is packed with features to ensure that
both your monitor and front-of-house mixes are
produced to the highest possible standards.
Whether you use your SM12 purely as a foldback
mixer alongside K3 Theatre, or as a front-of-house
console in its own right with outstanding
monitoring capabilities, your live sound will be in
the best possible hands.

K3 Theatre Block Diagrams

Dual Group/EQ Module

Quad Matrix Module

Input Module

Stereo Input Module

Aux Master Section

Dual Group/FX Return Module

Master Module

+15dB

+12dB

+9dB

+6dB

+3dB

0dB

-3dB

-6dB

-9dB

-12dB

-15dB
10Hz 100Hz 1kHz 10kHz

LF Range
27Hz - 500Hz

LMF Range
70Hz - 1.1kHz

HMF Range
400Hz - 7kHz

HF Range
1kHz - 16kHz

EQ Amplitude (dB) vs Freq (Hz)

LMF/HMF EQ shown with
HI-Q switches in and out.

LF and HF shown selected to
Bell and Shelf response

Max boost/cut:
HI-Q value:
LO-Q value:
HPF -3dB point:
HPF slope:

+/-15dB

2.6

1.3
100Hz
12dB/oct

Part Numbers and Options

Max Mic (+18dB)

+30
+20
+10

0dBu

-10

-20

-30

+30
+20
+10

0dBu

-10

-20

-30

Matrix Clip (+26dB)

L/R/Mono Out Clip (+26dB)

Input Clip (+30dB)Input Clip (+30dB)

Internal Clip (+20dB)

Group Out Clip (+26dB)

PFL

Balanced Insert (+4dB)

Dir Out (+4dB/-2dB)

Gnd Comp Insert (-2dB)

Min Line (-40dB)

Min Mic (-70dB)

Min Line (-20dB)

Nom Line (+4dB)

Min Line (-20dB)

Nom Line (+4dB)

Nom Line (-10dBV)

PFL PFL AFL

Group Out (+4dB)

Grp Insert (-2dB)

Aux Out (+4dB)

2 Trk In
(+4dBu)

2 Trk In (-10dBV)

Insert (-2dB)

L/R/Mono Out (+4dB)

Matrix Out (+4dB)

THEATRE/STANDARD INPUT MODULE STEREO INPUT MODULE FX RETURNS GROUP OUTPUTS 2-TRK

INPUTS

AUX
OUTPUTS

MASTER
OUTPUTS

MATRIX
OUTPUTS

Input Clip (+26dB)

INPUT MODULE STERE

Fully-fitted Consoles

K3 16 channel console fitted with 16 Theatre inputs + 4 Dual Eq Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5205

K3 24 channel console fitted with 24 Theatre inputs + 4 Dual Eq Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5206

K3 32 channel console fitted with 32 Theatre inputs + 4 Dual Eq Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5207

K3 40 channel console fitted with 40 Theatre inputs + 4 Dual Eq Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5208

K3 48 channel console fitted with 48 Theatre inputs + 4 Dual Eq Groups 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5209

K3 16 channel console fitted with 16 Theatre inputs + 4 Dual FX Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5241

K3 24 channel console fitted with 24 Theatre inputs + 4 Dual FX Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5242

K3 32 channel console fitted with 32 Theatre inputs + 4 Dual FX Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5243

K3 40 channel console fitted with 40 Theatre inputs + 4 Dual FX Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5244

K3 48 channel console fitted with 48 Theatre inputs + 4 Dual FX Groups 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5245

All consoles fitted with Master Module , MIDI Module and one blank module
All consoles supplied with single CPS275 power supply, except 1 supplied with 2x CPS275

Meterbridge Options (Please check power supply requirements before ordering)

K3 24 channel VU Meterbridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5247

K3 32 channel VU Meterbridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5248

All meterbridges provide eight output meters, switched between Aux, Group and Matrix.

Module Options

K3 Theatre Input Module.................................................................................RS4703/5703

K3 Stereo Input Module...................................................................................RS4704/5704

K3 Dual EQ Group Module2.............................................................................RS4705/5705

K3 Dual FX Group Module2.............................................................................RS4706/5706

K3 Master Module..............................................................................................RS4707/5707

Power Supplies

Spare CPS275 19" x 2U Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW8022

Supplied with DC link cable

Flightcases

K3 16 channel Flightcase with wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PL1201

K3 24 channel Flightcase with wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PL1202

K3 32 channel Flightcase with wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PL1203

K3 40 channel Flightcase with wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PL1204

K3 48 channel Flightcase with wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PL1205

Console flightcases do not accommodate Power Supplies. For flightcases for consoles with meterbridges, please contact your appointed Soundcraft representative

Spares and Manuals

Microphone Input Transformer kit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW1302

Customer Spares Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RZ2390

EQ Curves

K3 Theatre Input EQ

K3 40 channel VU Meterbridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5249

K3 48 channel VU Meterbridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RW5250

K3 MIDI Scene Set Module .............................................................................RS4708/5708

K3 Quad Matrix Module ..................................................................................RS4709/5709

K3 Blank Module...........................................................................................................PB0672

2

may be used as Dual Aux Masters

K3 32 channel Flightcase with wheels and cablebox . . . . . . . . . . . . . . . . . PL1206

K3 40 channel Flightcase with wheels and cablebox. . . . . . . . . . . . . . . . . . PL1207

K3 48 channel Flightcase with wheels and cablebox . . . . . . . . . . . . . . . . . PL1208

19" x 6U Power Supply Case. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PL1186

Spare User Manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ZM0090

Technical Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ZM0091

Level Diagram

Architect’s Specification

The Mixing Console shall be of a fully modular
construction available in 16, 24, 32, 40 and 48
input frames. The mixing console shall provide
eight auxiliary sends, eight mono subgroups, as
well as stereo and mono master outputs. A Mute
Scene Set system shall be included, enabling up to
128 scenes to be stored and recalled, with eight
instant recall presets. The console shall be
provided with 4 Dual Groups, 1 Master Module
and 1 MIDI Scene Set Module. Frames up to 40
channels will be supplied with a separate PSM300
or CPS275 19 inch rack-mounting Power Supply.
48 channel frames shall be supplied with dual
power supplies. The Group Modules shall have a
choice of stereo effects returns or dual EQ for the
outputs. There shall be a choice of Mono or Stereo
Inputs as well as a fully flexible matrix system.

The Theatre Input Module shall have the
following features; an electronically balanced low­impedance input via an XLR socket and high­impedance input on a three-pole balanced jack
with a continuously variable gain giving a
sensitivity range of -2dBu to

-70dBu (high gain range) and -20dBu to +10dBu
for high level inputs, switchable 48V phantom
power, a 100Hz filter and phase switch A by­passable 4-band semi-parametric equaliser shall
be provided with HF and LF controls switchable
between shelving and bell response covering 1kHz
to 16kHz and 27Hz to 500Hz and two mid­frequency controls covering the range of 400­7kHz and 70Hz to 1.1kHz with a switched Q of 1.3
or 2.6. All bands shall have a cut and boost of
15dB (centre detented). 8 auxiliary sends shall be
provided with individual level controls and
pre/post fader switching in pairs with internal
selection to pre-EQ, pre-mute and pre-insert. Aux
1 shall be routable to the channel post fade direct
output. Routing to the 8 subgroups shall be via
individual illuminated switches and switchable
pan control which always feeds the stereo mix bus
via the illuminated mix switch. Solo and Cut
switches shall control the main signal path and
allow the prefade signal to be monitored at all
times, or post-fade solo-in-place signal to be
monitored when the console is selected to that
mode. An 8 segment LED meter and a separate

peak indicator shall be provided, plus a Preview
LED to indicate the mute status of each channel
for the previewed scene. There shall be a
selectable pre or post EQ insert point using
separate send and balanced return jacks. All
connectors shall be integral with the main
module.
The Stereo Input Module shall have the following
features; two switchable stereo line level sources on
balanced jacks with a continuously variable gain
range giving a sensitivity of -20dBu to +10dBu and
a width control to vary the image from mono to a
phase-enhanced stereo, a by-passable 3-band
equaliser with shelving HF and LF operating at
12kHz and 60Hz and a mid control covering the
range of 300-3kHz with a Q of 1, all controls
having 15dB of cut and boost. Access to all eight
auxiliaries shall be possible with paired switch
selection of pre and post fader, with Aux 1-6 being
fed with a mono sum of left and right while Aux 7
and 8 shall be internally selectable to be a stereo
pair. A 100mm fader, and illuminated Cut switch
with Preview LED, a stereo balance control and
routing switches to the main mix and 8 subgroup
buses shall be provided. A Peak LED and illuminated
Solo switch will allow monitoring at all times.

Eight Group Outputs shall be provided, using any
combination of Dual Group/EQ and Dual Group/FX
Modules. The Dual Group/EQ Module shall be
have; 2 x 100mm faders, illuminated Solo, Stereo
and Mix switches to route the signal to monitors
or the main mix bus with a further option to route
in mono or stereo. Two 20-segment LED peak or
average reading meters shall monitor the group
output. A dual mono EQ shall be included with
12kHz and 60Hz HF and LF controls and mid
control covering the range of 250Hz-4kHz, all
bands having a cut and boost of 15dB on a centre
detented control. The Dual Group/FX Module
shall contain 2 x 100mm faders, illuminated Solo,
Stereo and Mix switches to route the signal to
monitors or the main mix bus with a further
option to route in mono or stereo. Additionally
the module shall provide a single stereo effects
return input. The stereo input shall have width
and balance controls, two-band shelving EQ, a
60mm linear fader, routing to all 8 groups and the
mix busses, illuminated Cut and Solo switches and

two Aux sends providing access to either Aux 1
and 2 or 3 and 4.
The Master Module shall have 2 x 100mm master
faders which may be selected to control L and R or
L/R and Mono outputs, 8 rotary aux master
controls with associated AFL control, Solo Clear,
Solo-in-Place and Auto Cancel selection, two 2­track returns, Talkback microphone socket and
switching, oscillator and monitor controls and 20­segment LED L/R master and Mono/PFL meters.

The MIDI Scene Set Module shall be capable of
storing up to 128 scenes comprising channel and
group mutes, MIDI Program changes and
continuous controller number. A three-digit LED
display shall be used to show scene number, MIDI
channel, controller number or program change for
the current or preview scene. Eight preset buttons
shall be used to assign instant recall scenes. A
Preview facility shall be provided which will display
the mute status of the console for any scene
without affecting the audio mutes. Presetting of
external devices shall be possible via MIDI Program
Changes and Note On/Off data. One external
device parameter shall be continuously
controllable from a 60mm linear DataFader which
may be re-assigned with every new scene.

The optional Quad Matrix Module may be fitted
in any quantity and each output shall receive a
contribution from each of the 8 groups, Mix L, R
and Mono, as well as an external input. Each
matrix output shall be controlled by a rotary
master fader with associated illuminated Cut and
AFL controls, the output being electronically
balanced.

The dimensions and specifications shall be as
published on the rear cover of this brochure.

The console shall be the
Soundcraft K3 Theatre.