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