SoundCraft K3 theatre User Manual

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SOUNDCRAFT

USER GUIDE

Page 2

Part No. ZM0090 Issue 3

Soundcraft is a trading division of Harman International Industries Ltd.

Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual.

No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express written permission of Soundcraft.

It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.

Harman International Industries Ltd. Cranborne House, Cranborne Road, Cranborne Industrial Estate, Potters Bar, Herts., England. EN6 3JN.

Tel: 01707 665000 Fax: 01707 660482

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Table of Contents

1. Introduction 1.1

Introduction 1.2 Warranty 1.4

2. Installation 2.1

Dimensions 2.2 Precautions and Safety Instructions 2.3 Mains Installation 2.4 General Wiring Procedures 2.5 Connections 2.8

3. Block Diagrams 3.1

Standard Mono Input Module 3.2 Theatre Mono Input Module 3.3 Stereo Input Module 3.4 Dual Group/EQ Output Module 3.5 Dual Group/FX Return Module 3.6 Quad Matrix Module 3.7 Master Module Sheet 1 of 3 3.8 Master Module Sheet 2 of 3 3.9 Master Module Sheet 3 of 3 (Aux Master) 3.10

4. Functional Description 4.1

Standard Mono Input Module 4.2

Table of Contents i

Theatre Mono Input Module 4.5 Stereo Input Module 4.8 Dual Group/EQ Output Module 4.11

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Dual Group/FX Output Module 4.13 Quad Matrix Module 4.16 Master Module 4.18 Optional Meterbridge 4.23

Mute Scenes/Mute Groups & MIDI Module 4.25

Introduction 4.26 Mute Scenes/Mute Groups & MIDI Controller 4.27 Saving And Loading The Memory 4.28 Storing Mute Scenes 4.30 Recalling Mute Scenes 4.31 The ’All’ Scene 4.32 Introduction To The M1 - M8 Buttons 4.33 Using The M1-M8 Buttons In

Mute Groups Mode 4.34 Mute Groups Tutorial 4.35 Using The M1-M8 Buttons In

Mute Scenes Mode 4.36 Storing MIDI Parameters With Mute Scenes 4.37 Editing MIDI Parameters In Mute Scenes 4.39 Setting The Global MIDI Receive/note On/Off

Channel 4.40 Table Of MIDI Note Numbers And

Console Mutes 4.41 MIDI Implementation Chart 4.42

5. Specifications 5.1

Specifications 5.2

ii Table of Contents

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1. Introduction

Introduction 1.1

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Introduction

K3 Standard Console The K3 Standard Console is designed to offer value for money, and versatility that

allows the desk to perform to a high standard in a wide range of applications, from touring rigs and medium sized band PA to fixed installations in medium sized theatres and concert halls, conference halls and so on.

The K3 is available in five different frame sizes 16, 24, 32, 40 and 48 channels. The choice of frames and modules means that the desk can be configured to match your needs and budget. Good ergonomics, plus an advanced mute system and MIDI control module, make the K3 easy for any operator to get to grips with, and exploit its range of facilities to the full.

K3 Theatre Console The K3 Theatre is designed to offer the ultimate in control and quality from a

mid-range PA console. Based on the K3 Standard, the K3 Theatre is a modular 8-bus console with a special mono input module featuring enhanced EQ plus refinements such as individual routing to groups. Along with all the other K3 options, such as choice of group modules, stereo input modules, and a slimline matrix module, the K3 Theatre makes it easier than you ever thought possible to mix a large number of varied mono and stereo sources in a range of sound reinforcement situations- band FOH or FOH and monitor mixing, installed or theatre sound with a multi-speaker rig -all with the benefits of MIDI mute control, and the K3’s exceptional ease of use.

The K3 Theatre is available in 16, 24, 32, 40 and 48-channel frame sizes, with an optional VU meter overbridge.

Module Options

Each frame includes:

• Either Standard or Theatre Inputs.

• 4 X Dual group/EQ or group/FX output modules.

• 1 X MIDI scene set module.

• 1 X Master module.

• 1 X Blank module

• 1 X CPS275 Power supply (48ch Theatre version needs two).

Optional fittings include:

• Quad matrix modules.

• Stereo input modules.

• VU Overbridge (Factory fitted).

• Additional CPS275 for backup supply, links to main supply with short cable.

• Dual Group/EQ or FX modules.

• Mic I/P transformer options.

1.2 Introduction

Page 7

Metering A VU output overbridge is available for all K3 frames, except for 16ch. The VU

meters provide metering of the Group and Mix signals and monitor the Mono bus output.

Additionally, the 8 VUs which normally monitor the group signals can be switched from the front panel to read the Matrix outputs or the Aux outputs.

Power Supplies The K3 requires the CPS275 power supply unit. The CPS275 has built-in diodes in

the output. This allows a second power supply to be connected in "parallel" with the main supply such that if any rail on either supply fails, the other CPS275 will immediately supply the power.

Note: Although the supplies are "in parallel", they will not necessarily

share the current because the rail voltages will not be exactly equal.

When you order a spare CPS275, this comes with a short link cable which connects from the spare supply’s "link" output into the "link" connector on the main supply.

Introduction 1.3

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Warranty

1 Soundcraft is a trading division of Harman International Industries Ltd.

End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User

purchased the Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor.

Equipment means the equipment supplied with this manual.

2 If within the period of twelve months from the date of delivery of the Equipment to

the End User it shall prove defective by reason only of faulty materials and/or workmanship to such an extent that the effectiveness and/or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components. Any components replaced will become the property of Soundcraft.

3 Any Equipment or component returned will be at the risk of the End User whilst in

transit (both to and from the Dealer or Soundcraft) and postage must be prepaid.

4 This warranty shall only be available if:

a) the Equipment has been properly installed in accordance with instruc tions contained in Soundcraft’s manual; and

b) the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing; and

c) no persons other than authorised representatives of Soundcraft or the Dealer ha ve effected any replacement of parts maintenance adjustments or repairs to the Equipment; and

d) the End User has used the Equipment only for such purposes as Soundcraft recommends, with only such operating supplies as meet Soundcraft’s specifications and otherwise in all respects in accorda nce Sou ndc raft’s recommendations.

5 Defects arising as a result of the following are not covered by this Warranty: faulty

or negligent handling, chemical or electro-chemical or electrical influences, accidental damage, Acts of God, neglect, deficiency in electric al powe r, air-conditioning or humidity control.

6. The benefit of this Warranty may not be assigned by the End User.

7. End Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitle d against the seller of the Equipment.

1.4 Introduction

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2. Installation

Installation 2.1

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2.2 Installation

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Precautions and Safety Instructions

General Precautions Avoid storing or using the mixing console in conditions of excessive heat or cold, or

in positions where it is likely to be subject to vibration, dust or moisture. Do not use any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only water or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause damage to paint or plastic parts.

Avoid using the console close to strong sources of electromagnetic radiation (e.g. video monitors, high-power electric cabling): this may cause degradation of the audio quality due to induced voltages in connecting leads and chassis. For the same reason, always site the power supply away from the unit.

Caution! In all cases, refer servicing to qualified personnel.

Handling and Transport The console is supplied in a strong carton. If it is necessary to move it any distance

after installation it is recommended that this packing is used to protect it. Be sure to disconnect all cabling before moving. If the console is to be regularly moved we recommend that it is installed in a foam lined flightcase. At all times avoid applying excessive force to any knobs, switches or connectors.

Power Supplies & cables Always use the power supply and cable supplied with the mixer: the use of alternative

supplies may cause damage and voids the warranty; the extension of power cables may result in malfunction of the mixing console.

Warning! Always switch the power supply off before connecting or

disconnecting the mixer power cable, removing or installing modules, and servicing. In the event of an electrical storm, or large mains voltage fluctuations, immediately switch off the PSU and unplug from the mains.

Always ensure that you use the correct PSU for your mixer. The K3 normally requires 1 X CPS275 supply for the 16 to 40 input frames and the 48 channel input Standard.

The 48 input Theatre frame uses 2 X CPS275

On 32 to 40 plus 48 input standard frames fitted with the optional VU overbridge an additional CPS275 is required. (CPS275 supplied with the overbridge).

Note: Each CPS275 can have a backup supply connected to it.

Signal Levels It is important to supply the correct input levels to the console, otherwise signal to

noise ratio or distortion performance may be degraded; and in extreme cases, damage to the internal circuitry may result. Likewise, on all balanced inputs avoid sources with large common mode DC, AC or RF voltages, as these will reduce the available signal range on the inputs. Note that 0dBu = 0.775V RMS.

Refer to the Specifications section for details of input and output levels.

Installation 2.3

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Mains Installation

The CPS275 is a linear power supply which produces the required DC voltages used by the K3.

This unit has four nominal input voltages: 230V AC rms 115V AC rms 100V AC rms 85V AC rms.

Warning! Do not replace the fuse with any other type, as this could become a

safety hazard and will void the warranty. Use only the correct fuse (which depends upon the nominal input voltage selected: see CPS275 manual).

2.4 Installation

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To take full advantage of the excellent signal to noise ratio and low distortion of Soundcraft consoles care must be taken to ensure that incorrect installation and wiring does not degrade the performance of the desk. Hum, buzz, instability and Radio Frequency interference can usually be traced to earth loops and inferior earthing systems. In some areas, especially heavily industrial areas, the incoming mains earth will not be adequate and a separate technical earth for all the audio equipment must be supplied. However, check with your local electricity supply company to ensure that safety regulations are not infringed or negated.

The successful, hum free, installation of a system requires forethought, and the establishment of a set of ground rules, which must be consistently a dhere d to a t a ll stages of installation.

Initial Wiring Considerations

• For optimum performance, it is essential for the earthing system to be clean

and noise free, as all signals are referenced to this earth. A centra l point should be decided on for the main earth point system, and all earths should be ‘star fed’ from this point. It is common electrical practice to ‘daisy chain’ the earths to all electrical outlets but this method is unsuitable for audio installations. The preferred method is to run an individual earth wire from each outlet, back to the system star point to provide a safety earth screen reference for each piece of equipment.

A separate earth wire should also be run from each equipment rack and area, to the star point. This may or may not be used depending on circumstances, but it is easier to install in the first place, than later when problems arise.

The location of the star point should be a convenient, easily accessible place, preferably at the rear of the console or in the main equipment rack.

• Install separate ‘clean’ and ‘dirty’ mains outlets, wired individually back to

the incoming mains distribution box. Use the ‘clean’ supply for all audio equipment and the ‘dirty’ supply for all lighting, vending machines etc. Never mix the two systems.

• If necessary, to provide sufficient isolation from mains borne interference,

install an isolating transformer. This should be provided with a Faraday Shield which must be connected with earth.

• Never locate the incoming mains distribution box near audio equipment,

especially tape recorders, which are very sensitive to e lec tro-ma gne tic fiel ds.

• Ensure that all equipment racks are connected to earth, via a separate wire

back to the star point.

• Equipment which has unbalanced inputs and outputs may need to be isolated

from the rack to prevent earth loops.

Installation 2.5

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Audio Wiring

Having provided all equipment with power and earthing c onnections, consideration must be given to the method of providing audio interconnection and adequate screening of those interconnections. This must be done in a logical sequence to avoid problems and assist in the localisation of problem equipment.

• Connect the Monitor system to the console and check for any hum, buz z , or

RFI. Only when you are satisfied with the quietness of the console and the monitor system should you proceed with the next step.

• Connect stereo tape recorders, echo and foldback sends one at a time,

checking and isolating any connection which degrades performanc e.

• Connect all other peripheral devices.

• Connect all microphone lines.

By following this sequence much time and future trouble will be saved, and the result will be a quiet, stable system.

Shielding

Audio equipment is supplied with a variety of input and output configurations, which must be taken into consideration when deciding where the screen connections should be made. There are three sources of unwanted signal being impressed on th e screen, which are as follows:

• Extraneous electrostatic or electromagnetic fields.

• Noise and interference on the earth line.

• Capacitive coupling between the screen and signal wires.

To minimise the adverse affects of the unwanted coupling to the signal wires, it is important that the screen is connected at one end only, i. e. the screen must not ca rry any signal current. Any signal on the wires within the screen will be capacitively coupled to the screen. This current will ultimately be returned to the source of the signal, either directly, if the screen is connected at the signal source end, or in directly via the earthing system, if the signal is connected at the signal destination end. The indirect connection will cause an increase in high frequency cross-talk, and should be avoided wherever possible.

Therefore, in general, always connect the shield only at the signal source end. In high RF areas, the screen can also be co nnected to earth via a 0.01µF ca pacitor. This

will present a short circuit at RF frequencies, thus lowering the effective shield impedance to ground. However, at low audio frequencies the reactance of the capacitor will be sufficiently high not to cause an earth loop problem.

Points to Remember

2.6 Installation

• In all cases, use good quality twin screened audio cable. Check for

instability at the output.

• Always connect both conductors at both ends, and ensure that the screen is

only connected at one end.

• Do not disconnect the mains earth from each piece of equipment. This is

needed to provide both safety and screen returns to the system star point.

• Equipment which has balanced inputs and outputs may need to be

electrically isolated from the equipment rack and/or other equipment, to avoid earth loops.

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It is important to remember that all equipment which is connected to the mains is a potential source of hum and interference and may radiate both electrostatic or electromagnetic radiation. In addition, the mains will also ac t as a c arrie r for ma ny forms of RF interference generated by electric motors, air–conditioning units, thyristor light dimmers etc. Unless the earth system is clean, al l attempts to improve hum noise levels will be futile. In extreme cases there will be no alternative but to provide a completely separate and independant ‘technical earth’ to replace the incoming ‘noisy earth’. However, always consult your local electricity supply authority to ensure that safety regulations are not being infringed.

Installation 2.7

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Wiring conventions

The K3 uses two different types of audio connector: 3-pin XLR and

⁄

" 3-pole

jacks. This section describes how to connect external equipment to the console. Correctly-made cables of the proper type will ensure peak performance from your mixer.

MICROPHONEINPUTS TALKBACKMICMONOO/P

3-pole XLR

222

111

333

Socket(female) Socket(female)

GROUND(SCREEN)

COLD (OUTOF

PHASE SIGNAL)

HOT

(IN PHASE SIGNAL)

Stereo Jack Plug used as balancedInput/Output:

" Hi-Z Input, Stereo Inputs, 2-Track Inputs, Oscillator Insert return on Standardand TheatreInput. OptionalInsert sends on Standardand Theatre Inputs

Tip - HOT(INPHASE SIGNAL)

Ring - COLD(OUTOF PHASE SIGNAL) Sleeve - GROUND(SCREEN)

Stereo Jack Plug used as a ground compensatedoutput:

" Aux Outputs(Insertsends on Standardand TheatreInputs)

Tip - HOT(SIGNAL)

MATRIX, TALKBACKO/P,

GROUP& MIX OUTPUTS

Plug(male)

GROUND GROUND

SIGNAL

Ring - GROUND SENSE Sleeve - GROUND(SCREEN)

Stereo Jack Plug used as an unbalanced Output:

" Direct Outputs

Tip - SIGNAL

Ring - GROUND Sleeve - GROUND(SCREEN)

Stereo Jack Plug used as a Stereo Output:

" Headphones

Tip - LEFT SIGNAL

Ring - RIGHT SIGNAL Sleeve - GROUND(SCREEN)

2.8 Installation

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3. Block Diagrams

Block Diagrams 3.1

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Standard Mono Input Module

3.2 Block Diagrams

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Theatre Mono Input Module

Block Diagrams 3.3

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Stereo Input Module

3.4 Block Diagrams

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Dual Group/EQ Output Module

Block Diagrams 3.5

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Dual Group/FX Return Module

3.6 Block Diagrams

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Quad Matrix Module

Block Diagrams 3.7

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Master Module Sheet 1 of 3

3.8 Block Diagrams

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Master Module Sheet 2 of 3

Block Diagrams 3.9

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Master Module Sheet 3 of 3 (Aux Master)

3.10 Block Diagrams

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4. Functional Description

Functional Description 4.1

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1 2 3

4 5

The standard mono input is provided with XLR and jack conn ectors, the XL R may be used for any level of input signal; inserting a jack automatically disconnec ts the XLR socket, and applies the jack signal (HI-Z I/P) to the input. The jack socket only operates on the lower sensitivity range.

The channel is provided with an Insert Point using a Ground Compensated Send (optionally balanced) and Balanced Return. T he Insert Point ma y be c onfigured as pre or post-EQ ( the factory default is pre-EQ).

The

SENS

The

48V

switch applies 48V phantom power to the input XLR. Note that the

(sensitivity) control adjusts the sensitivity of both the XLR and jack

RNGE

(Range) switch lowers the sensitivity of the input when pressed,

48V is never applied to the jack socket

inputs, and in combination with the RNGE switch gives two sensitivity ranges:

-2dBu to -70dBu, and +10dBu to -20dBu.

allowing line level signals to be used.

The ∅

The switch should normally be released.

This switch inserts a second-order

The frequency is fixed at 100Hz.

(Phase) switch reverses the phase of the selected input when pressed.

HI-PASS FILTER

into the channel path.

10 15

Equaliser

The EQ section has four bands. The HF and LF s ections have a shelving response at a fixed frequency. The two MID sections have a peaking response at a variable frequency.

• The HF control gives 15dB of cut or boost at 12kHz.

• The LF control gives 15dB of cut or boost at 60Hz.

• The HI-MID control gives 15dB of cut or boost at 500Hz - 10k Hz, selec ted by

the HI-MID frequency control.

• The LO-MID control gives 15dB of cut or boost at 110Hz - 2.5kHz, selected

by the LO-MID frequency control.

The EQ section is switched in by the EQ switch. Toggling this switch provides a simple method of hearing the effect of the equaliser settings.

Auxiliary Sends

Signal is sent to the Aux 1 - 8 busses via individual unity gain when fully clockwise, and are switched pre or post-fader in pairs by th e

PRE

buttons.

The pre-fade signal may be sourced pre-fade & post-mute, pre-mute, or pre-EQ & pre-insert in two blocks of four sends, using push-on jumpers.

Level Pots

. These have

4.2 Functional Description

Page 29

The

DIR

switch switches Aux 1 pot signal away from its bus and connects it to

the Direct Output (ground compensated, 1/4" jack). When the DIR switch is not

depressed, the Direct Output is fed with the post-fade signal.

2 3

Routing

5 7

The 100mm-travel the channel, enabling rapid and accurate control of the channel output level. When mixing, you will get optimum headroom and signal-to-noise ratios by keeping the fader at about the unity (0dB) mark. Avoid running the input sensitivity too high, and the fader resultingly low, since this gives very little headroom. Similarly, running the input sensitivity very low, and the fader fully up (10dB of gain) will increase noise levels, and does not allow any increase in gain on the fader should the signal source drop unexpectedly.

FADER

has 10dB of gain and is the main level control for

In the centre there is a 4.5dB drop. Pan left feeds the s ignal to odd-numbered busses and Mix Left, pan right feeds to even-numbered busses and Mix Right.

the post-fader signal.

linked to the MIDI muting system. When the module is muted by the MIDI system the CUT switch illuminates. The system when PREVIEW mode is selected, to indicate that the cha nnel is mute d by the selected scene number.

14 15

post-fade signals. It lights 6dB before clipping oc c urs.

PAN

The

The signal is sent to the stereo mix bus, mono bus and 8 group busses using

MIX, MNO, 1-2, 3-4, 5-6, 7-8

The signal in the module is turned on and off by the

The 4-LED meter next to the fader meters the signal at the input amplifier.

The 3-input

control determines the position of the signal within the stereo image.

switches. The mono bus is fed directly from the

CUT

switch ,which is

PREVIEW

PEAK

LED monitors the input amp, the EQ output and the

LED is illuminated by the MIDI

Solo / Pre-Fade Listen

The electronically latching to the monitor output and phones output. If Auto Cancel is enabled, then any previously active Solos or AFLs will be cancelled. The SOLO may be remotely cleared, either by the SOLO CLEAR button on the master, or by any other SOLO or AFL if Auto Cancel is active. If SIP mode is se lected on the maste r modu le, th e SOLO button functions as Solo-In-Place, muting all other channels. An internal jumper allows the module to be made safe from muting if anothe r channel is soloed.

SOLO

switch feeds the pre-fade, pre-mute signal

10 15

Functional Description 4.3

Page 30

Rear Connector Panel

INPUT (3-pin female XLR)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

HI-Z INPUT, INSERT RETURN (1/4"" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

INSERT SEND (1/4" TSR Jack)

Tip Signal Hot Ring Ground Sense (Signal Cold for balanced option) Sleeve Ground

DIRECT OUTPUT (1/4" TSR Jack)

Tip Signal Hot Ring Ground Sense Sleeve Ground

4.4 Functional Description

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1 2

3 4 5

The theatre mono input is provided with XLR and jack connectors, the XLR may be used for any level of input signal; inserting a jack automatically disconnec ts the XLR socket, and applies the jack signal (HI-Z I/P) to the input. The jack socket only operates on the lower sensitivity range.

The

SENS

The

48V

switch applies 48V phantom power to the input XLR. Note that the

(sensitivity) control adjusts the sensitivity of both the XLR and jack

48V is never applied to the jack socket

inputs, and in combination with the RNGE switch gives two sensitivity ranges:

-2dBu to -70dBu, and +10dBu to -20dBu.

allowing line level signals to be used.

The switch should normally be released.

The frequency is fixed at 100Hz.

RNGE

The

The ∅

This switch inserts a second-order

(Range) switch lowers the sensitivity of the input when pressed,

(Phase) switch reverses the phase of the selected input when pressed.

HI-PASS FILTER

into the channel path.

11 12

10 15

Equaliser

The EQ section has four bands, with sweep peak/dip on all four bands using four dual-concentric pots. In addition the HF and LF bands have switchable bell/shelving operation. The

case when pressed. When in peak/dip mode the Q of the LF and HF bands is fixed at 1.5.

• The HF control gives 15dB of cut or boost from 1 to 16kHz.

• The LF control gives 15dB of cut or boost from 27 - 500 Hz.

• The HI-MID control gives 15dB of cut or boost from 400Hz - 7kHz.

• The LO-MID control gives 15dB of cut or boost from 70Hz - 1.1kHz.

• The Q of the two mid bands is switchable between 1.3 and 2.6 with the

buttons: when a button is depressed the Q value of 2.6 is selected, this gives a steeper notch in the response curve.

The EQ section is switched in by the EQ switch. Toggling this switch provides a simple method of hearing the effect of the equaliser settings.

SHLF

switch switches the response to shelving in each

HI-Q

Auxiliary Sends

Signal is sent to the Aux 1 - 8 busses via individual unity gain when fully clockwise, and are switched pre or post-fader in pairs by th e

PRE

buttons.

Level Pots

. These have

Functional Description 4.5

The pre-fade signal may be sourced pre-fade & post-mute, pre-mute, or pre-EQ & pre-insert in two blocks of four sends, using push-on jumpers.

Page 32

The

DIR

switch switches Aux 1 pot signal away from its bus and connects it to

the Direct Output (electronically balanced, 1/4" jack). When the DIR switch is not

depressed, the Direct Output is fed with the post-fade signal.

2 3

Routing

5 6

7 8

the centre there is a 4.5dB drop. The PAN pot always operates on the Mix busses (via the MIX switch), but it may also be switched to control the 8 group busses in pairs by pressing the pan right feeds to even-numbered busses). If the PAN switch is not depresse d, each group bus receives the post-fade signal directly. The Mono bus is always fed with the post-fade signal.

the the post-fader signal.

PAN

The

The signal is sent to the stereo mix bus, mono bus and 8 group busses using

MIX, MONO, 1, 2, 3, 4, 5, 6, 7, 8

The signal in the module is turned on and off by the

pot determines the position of the signal within the stereo image. In

FADER

PAN

has 10dB of gain and is the main level control for

switch (pan left feeds the signal to odd-numbered busses,

switches. The mono bus is fed directly from

CUT

switch, which is

PREVIEW

LED is illuminated by the MIDI

11 12

10 15

The 8-LED meter next to the fader meters the signal at the input amplifier. The meter has a peak-type response.

The 3-input post-fade signals. It lights 6dB before clipping oc c urs.

PEAK

LED monitors the input amp, the EQ output and the

Solo / Pre-Fade Listen

SOLO

switch feeds the pre-fade, pre-mute signal

4.6 Functional Description

Page 33

Rear Connector Panel

INPUT (3-pin female XLR)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

HI-Z INPUT, INSERT RETURN (1/4"" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

INSERT SEND (1/4" TSR Jack)

Tip Signal Hot Ring Ground Sense (Signal Cold for balanced option) Sleeve Ground

DIRECT OUTPUT (1/4" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

Functional Description 4.7

Page 34

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The

SENS

control adjusts the sensitivity of the input from +10 to -20dBu.

The

LINE A /B

switch switches the input source from line A to line B. These

are electronically balanced inputs via 1/4" jacks on the rear conne ctor panel.

LEFT

The

normal stereo (centre detent) to phase-enhanced ste reo (fully clo ckwise ) .

∅ (Phase) button inverts the phase of the left channel.

WIDTH

control varies the width of the stereo image from mono, through

Equaliser

The EQ has three bands, with shelving high and low frequencies, and a

sweepable peak/dip mid band.

• The HF control gives 15dB of cut/boost at 12kHz.

• The LF control gives 15dB of cut/boost at 60Hz.

• The MID controls give 15dB of cut/boost at a centre frequency which is

adjustable between 300 - 3kHz. The Q is 1.0.

The EQ section is switched in by the EQ switch. Toggling this switch provides

a simple method of hearing the effect of the equaliser settings.

13 12

Auxiliary Sends

The signal is routed to the 8 Aux busses by the fed from a combination of pre or post-fade mono signals. The pre or post-fade status is selected for each pair of auxes using the PRE switches. The pre and post-fade sources for the PRE switch controlling Aux7 and 8 may be eith er stereo (le ft fee ds 7, right feeds 8) or a mono sum. These are selected by internal jumpers.

AUX 1 - 8

controls. These are

Routing

The 100mm-travel the channel.

channels. When it is rotated fully in one direction from the ce ntre position, the level of one channel is increased by 4.5dB, while the other channel is reduced to zero.

Each channel has unity gain when the control is centred.

via the are fed from the output of the balance control, with odd-numbered busses fed from the left channel, and even-numbered busses fed from the right. The MONO switch is fed from the post-fade mono sum signal.

BAL

The

The post-fade signal is routed to the stereo mix, mono bus and 8 group busses

(Balance) control varies the relative levels of the left and right

MIX, MONO, 1-2, 3-4, 5-6, 7-8

FADER

has 10dB of gain. It is the main level control for

buttons. These switches (except MONO)

4.8 Functional Description

Page 35

The signal in the module is turned on and off by the linked to the MIDI muting system. When the module is muted by the MIDI system the CUT switch illuminates. The system when PREVIEW mode is selected, to indicate that the cha nnel is mute d by

the selected scene number.

PREVIEW

LED is illuminated by the MIDI

CUT

switch ,which is

2 3

The 4-LED meter next to the fader meters the highest of the left and right signals at the input amplifier’s output.

The 4-input PEAK LED monitors the pre-fade and post-EQ left and right signals. It lights when any of these signals are 4dB be low c lip ping.

Solo / Pre-Fade Listen

or AFL if Auto Cancel is active. If SIP mode is se lected on the maste r modu le, th e SOLO button functions as Solo-In-Place, muting all other channels. An internal jumper allows the module to be made safe from muting if anothe r channel is soloed.

SOLO

switch feeds the pre-fade, pre-mute signal

13 12

Functional Description 4.9

Page 36

Rear Connector Panel

LINE A & B (Left and Right) (1/4"" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

4.10 Functional Description

Page 37

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The Dual Group/EQ Output Modules are optional inasmuch as either these modules or Dual Group/FX Output Modules will be fitted. Note that additional numbers of either of these Group Output Modules may be fitted to act as Aux Masters (the normal Aux master controls may be disconnected by removing jumpers on the Master Module).

Four Dual Output Modules are fitted to the left of the master module. The Dual Group/EQ Output Module contains two group output sections. The two sections have identical functions.

Each group has a summing amp, which is assigned to one of the eight group busses using jumpers, and feeds signal to the Insert Point. The insert point has a ground compensated Send and an electronically balanced Return, both on 1/4" jacks.

The insert return feeds the EQ section.

Equaliser

The EQ has 3 bands, with shelving HF and LF and a swept peak/dip mid band.

• The

The EQ is switched in with the EQ switch.

control gives 15dB of cut/boost at 12kHz.

control gives 15dB of cut/boost at 60Hz.

MID

controls give 15dB of cut/boost at a settable frequency from 250 -

4kHz. The Q of the mid band is 1.0.

Output

The 100mm-travel

Group Output. There is unity gain at the top of the fader.

Fader

controls the level of the signal which is fed to the

The signal in each group is turned on and off by the

3 6

to the MIDI muting system. When the group is muted by the MIDI syste m the CUT switch illuminates. The PREVIEW mode is selected, to indicate that the group is muted by the selected scene number.

PREVIEW

LED is illuminated by the MIDI system when

CUT

switch ,which is linked

Functional Description 4.11

mix busses, depending on the setting of the odd-numbered group (labelled ’A’) is sent to mix left, and the even-numbe red group (labelled ’B’) is sent to mix right. If STE is not pressed, both odd and even groups are sent in mono to mix left and right.

for 0 at +4dBu output. An internal jumper allows the meter response to be set to average instead of peak.

MIX

The

The Group output level is measured by a 20-LED meter. The meter is calibrated

switch routes the post-fade group signal to the left and right stereo

STE

switch. If STE is pressed, the

Page 38

After-Fade Listen

The electronically-latching AFL switches feed each group’s post-fade signal to the monitor outputs and phones output. If solo Auto Cancel is selected on the Mas ter Module, then AFL will cancel any other active SOLOs or AFLs. The AFL may also be cleared with the master SOLO CLEAR function. AFL doe s not ac tivate the SIP system even if SIP is selected on the master.

Rear Connector Panel

INSERT SEND (1/4"" TSR Jack)

Tip Signal Hot Ring Ground Sense Sleeve Ground

INSERT RETURN (1/4"" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

GROUP OUTPUTS (1/4"" TSR Jack)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

4.12 Functional Description

Page 39

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The Dual Group/FX Output Modules are optional inasmuch as either these module s or Dual Group/EQ Output Modules will be fitted. Note that additional numbers of either of these Group Output Modules may be fitted to act as Aux Masters (the normal Aux master controls may be disconnected by removing jumpers on the Master Module).

Four Dual Output Modules are fitted to the left of the master module. The Dual Group/FX Output Module contains two group output sections and a stereo line-level

5 7

input with a fader, 2-band EQ and 2 Auxiliary sends. The two group output sections have identical functions.

The insert return feeds the Fader.

Output

The 100mm-travel Group Output. There is unity gain at the top of the fader.

3 2

The signal in each group is turned on and off by the to the MIDI muting system. When the group is muted by the MIDI syste m the CUT switch illuminates. The PREVIEW mode is selected, to indicate that the group is muted by the selected scene number.

for 0 at +4dBu output. An internal jumper allows the meter response to be set to average instead of peak.

and Right signals (post-EQ) instead of the Group outputs.

MIX

The

The Group output level is measured by a 20-LED meter. The meter is calibrated

The RET switch allows both odd and even meters to read the stereo return Left

switch routes the post-fade group signal to the left and right stereo

Fader

controls the level of the signal which is fed to the

CUT

switch ,which is linked

PREVIEW

LED is illuminated by the MIDI system when

STE

switch. If STE is pressed, the

After-Fade Listen

Functional Description 4.13

Page 40

Stereo Return (FX) Section

The Stereo Return section is completely separate electronically from the group sections. The input sensitivity is switchable betwe en -10dBV and +4dBu by mea ns of a switch which is accessible via a screwdriver hole in the rear panel.

The signal then passes to the WIDTH control, which varies the image from mono (anticlockwise) through normal stereo (centre detent) to phase-enhanced wide stereo (clockwise).

The 2-band EQ gives a shelving response.

5 7

• The HF control gives 15dB of cut/boost at 12kHz.

• The

control gives 15dB of cut/boost at 60Hz.

3 2

The signal in the return section is turned on and off by the is linked to the MIDI muting system. When the section is muted by th e MIDI system the CUT switch illuminates. The system when PREVIEW mode is selected, to indicate that the section is muted by the selected scene number.

The Stereo Return level is controlled by the

when fully up.

The fader output feeds the levels of the left and right channels. When rotated fully in one direction from the centre position, the level of one channel is increased by 4.5dB, while the other channel is reduced to zero. Each channel has unity g ain when the control is centred.

The output of the balance control is routed to the appropriate busses by the MIX, MONO, 1-2, 3-4, 5-6, 7-8 buttons.

Two Aux send controls, pre-fade(post cut) or post-fade signals (selectable for each Aux by internal jumpers) to the Aux 1 and Aux 2 busses. The Aux 4 busses instead.

The electronically latching sum of the signal to the monitor output and phones output. If Auto Cancel is enabled, then any previously active Solos or AFLs will be cancelled. The SOLO may be remotely cleared, either by the SOLO CLEAR button on the ma ster, or by any other SOLO or AFL if Auto Cancel is active. If SIP mode is selected on the master module, the SOLO button functions as Solo-In-Place, muting all other channels. An internal jumper allows the module to be made safe from muting if anothe r channel is soloed.

PREVIEW

BAL

(balance) control, which varies the relative

AUX 1

and

3-4

SOLO

LED is illuminated by the MIDI

Fader

AUX 2

, route a mono sum of either the

button switches the pots to feed Aux 3 and

switch feeds the pre-fade, post-EQ mo no

CUT

switch ,which

, which has 10dB of gain

4.14 Functional Description

Page 41

Rear Connector Panel

INSERT SEND (1/4"" TSR Jack)

Tip Signal Hot Ring Ground Sense Sleeve Ground

INSERT RETURN (1/4"" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

GROUP OUTPUTS (1/4"" TSR Jack)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

STEREO (FX) RETURN (1/4"" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

Note: this panel serves four Group/FX

Modules

Functional Description 4.15

Page 42

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The Quadruple matrix module incorporates four ma trix outputs with level controls, with 12 receive controls on six dual concentric pots per output.

The 12 receive signals comprise:

• Mono/Ext input

• Mix L/R

4 3

• Group outputs 4/8

• Group outputs 3/7

• Group outputs 2/6

• Group outputs 1/5

Module Functions

Each module has 4 completely separate sections, each providing a mix of 12 sources into a single balanced output, with a master level control.

The receive pots (dual concentric) feed a mix of the groups, mix, mono and an

’external’ line level signal to a summing amplifier.

The

EXT

ernal input left and right signals are shared by all four matrix sections

and is electronically balanced from two 1/4" jacks on the integral rear-con. The sensitivity is normally +4dBu, but can be changed to -10dBV by moving internal jumpers. The signal from the input amps is fed one of two ways to th e ’EXT’ receive pots on the four matrix sections: Either a mono sum of the left and right external inputs is fed to each receive pot, or the left input is fed to matrix A and C receive pots, and the right input to matrix B and D receive pots. The feed to each receive pot is set by internal jumpers. This enables the external inputs to be used in stereo where 2 matrix outputs are used as a stereo pair.

The summed signal from the receive pots is fed to the matrix master rotary

which has unity gain at the fully clockwise position .

The signal is fed via the (male XLR) on the integral rear con. The CUT button is not controllable from the MIDI/Scene Set module.

The

AFL

button (electronically latching) feeds the post-fade, pre-Cut signal to

the PFL/AFL bus. This switch is part of the solo clear/ intercancel system, but not the SIP system.

CUT

button to the matrix (balanced) output connector

fader

Metering

Meter outputs are available post-fade & post-cut on each matrix output, for connection to the optional VU meterbridge.

4.16 Functional Description

Page 43

Rear Connectors

Matrix Outputs (3 pin male XLR)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

External Inputs (1/4" TSR jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

Functional Description 4.17

Page 44

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The double width master module, typically situated near the right hand side of the

console, contains the stereo mix output, the operator’s headphones and wedge speaker outputs, a noise or sine wave test oscillator, the solo mode controls and master solo clear function, internal/external talkback functions, master mute switches and PSU status indicator LEDs.

Main outputs

The Stereo Mix Left and Right signals are controlled by the L and R 100mm-travel are electronically balanced and appear on male XLR connectors on the rear panel.

The mix left and right insert points are pre-fade using a ground compensated send and balanced return. The send and return appear on separate 1/4" jacks on the rear panel.

The Right master fader can be switched, via a switch which is accessible via the hole marked also unity gain at the top). The mono output is electronic ally bala nce d and ap pears on an XLR on the rear panel. The mono insert point is ground compensated send and balanced return, and send and return appear as separate 1/4" jacks on the rear

panel. When the fader mode switch is set so the mono output is being c ontrolled by the Right fader, the Right output is controlled by the other half of the Left fader.

Faders

. Unity gain is at the top of the fader. The left and right outputs

FADER MODE

, to control the output level of the mono bus signal (

When the Left and Right faders are both controlling the stereo output, the mono output is switched to operate at a fixed level (unity gain).

The source of the mono fader is normally the mono bus itself, but internal jumpers allow this to be changed to be a derived mono sum of the pre-fade (post insert) left

and right signals. The left/right sum is fed to the mono output after the mono ins ert return, which is then disconnected. The mono insert send thus can still function as a pre-fade output from the mono bus even when the main output has be en jumpered to L/R sum.

2-Track returns

There are two 2-track return inputs, electronically balanced, from 1/4" jac ks on the rear con. A switch mounted internally on the PCB allows the sensitivity of both inputs to be set to either +4dBu or -10dBV. The A/B button selects one or the other

and feeds the signal to the signal to the stereo mix outputs, post the master faders.

The selected 2-track input can be monitored on the monitor/phones outputs before it is routed to mix, by pressing the 2TRK button on the monitor output section.

2-TRACK LEVEL

control. The

MIX

button routes the

4.18 Functional Description

Page 45

Solo System

A solo system of pre-fade (inputs) and post-fade (outputs) feeds the monitor and phones outputs. Normally, all active AFL and PFL signals are summed together

and fed to the monitor and phones outputs. This overrides the ste reo mix or 2-track signal which is normally fed to the monitor/phones output. The control gives +/-10dB of level trim for PFL/AFL signals. The button lights when any PFL, or AFL is active -pressing it will clear all PFLs or AFLs. When will cancel any other currently active solo, so only one AFL or PFL can be active at once.

SIP

The the PFL/AFL signal, and causes a solo mute bus to be activated when any mono or stereo input or stereo return has its SOLO button pressed. The solo mute bus then

mutes all other channels except those which have e ither be e n jumper-p rogrammed to be ’SAFE’, or have their own SOLO buttons pressed. The Group and Aux output AFLs should not trigger the solo in place system, but should continue to be audible on the monitor/phones outputs, even if SIP mode is selected.

The current solo signal is metered by the mono bargraph meter.

Monitor and Headphones Outputs

The Monitor Outputs and Headphones output share a common signal source and are controlled by the outputs are via Left and Right 1/4" jacks on the rea r panel with ground compensate d output. The panel.

AUTO CANCEL

button disables the automatic switching of the monitor/phones outputs to

PHONES

output socket is a stereo 1/4" jack on the master module front

is activated by the

MONITOR/PHONES LEVEL

ENBL

PFL/AFL TRIM

SOLO CLEAR

button, any AFL or PFL

control . The monitor

The signal source for these outputs is selected using the If neither are pressed, the post-fade stereo mix signa l is fed to the mon itor outputs. If 2TRK is pressed, the post-fade signal from the 2-Track return section is fed to the monitor outputs. Any PFL/AFL operation will override the mix or 2-track signal. If MONO is pressed, the post-fade signal from the Mono Output is fed to the monitor outputs.

Metering

Two 20-segment LED bargraph meters at the top of the module read the

post-fade stereo mix or 2-track return levels. A third 20-segment meter reads the post-fade mono level. If a PFL/AFL is operated, the mono meter switches to display the PFL/AFL level (pre the solo trim control). The meters norma lly have a peak-type response, but internal jumpers allow this to be changed to average.

A remote meter connector is fitted to allow a parallel feed of the L/R/mono meter signals to be connected to an optional LED or VU meterbridge.

2TRK

and

MONO

buttons.

Functional Description 4.19

Page 46

Talkback

The talkback system allows communication by the operator to the Group and Aux outputs, and to and from the monitor console. The

controls the level of the talkback mic input, from a front panel. The sensitivity of the mic input is variable b etween -20dBu and -50dBu.

EXT

The proprietary system. The talkback mic signal is switched to the T/BACK OUT XLR, with a +15v DC common-mode voltage to signal the Monitor console (an SM12, 16, 24 or Delta Monitor) that talkback is occurring. An internal jumper disables the common-mode DC voltage, to allow use with non-Soundcraft desks. If a 15v common-mode voltage is detected on the TB IN XLR, indicating talkba ck from the monitor console, then the TB IN signal is switched to the ’phones output, dimming

the existing signal by 15dB. The EXT switch also lights.

The Internal jumpers allow selection of TB routing to Aux 1-4, 5-8 or all.

The

Oscillator

button initiates talkback to the monitor console using a Soundcraft

AUX

button routes the talkback microphone signal to the 8 Auxiliary busses.

GRPS

button routes the talkback mic signal to the 8 group busses.

TALKBACK LEVEL

3-pin XLR

on the master module

pot

The oscillator, activated by the ON switch, produces pink noise; the button switches the signal from pink noise to sine wave, with frequency variable

between 63Hz and 1kHz by the up to 630Hz and 10kHz.

The oscillator signal is fed to the group, aux, stereo and mono mix busses; any of

these can be disabled using internal jumpers. The os cillator output is also available, balanced at a nominal level of +4dBu, on a 1/4" jack on the rear connector panel.

LEVEL

The

PSU Status Indicators

The two PSU Status Indicator LEDs show that the PSU rails +48v, and +/-17v (both sets of rails) are working.

pot adjusts the level from off to 10dB above nominal.

FREQ

pot. The

X10

button increases the frequency

TONE

4.20 Functional Description

Page 47

Auxiliary Master Section

The Aux master houses the summing amplifiers and output controls for the 8 Auxiliary outputs. Each of the eight sections is identical.

The aux busses are connected to their summing amps via jumpers which enable the bus connection to be broken, in the situation where the use r wishes to fit additional Dual Group/EQ modules for use as Aux masters.

The output level is controlled by the when fully clockwise, i.e. unity gain = 7.

AFL

The monitor/phones output. The switch is part of the autocancel and solo clear s ystem, but is not part of the SIP system.

The Auxiliary output is electronically balanced at +4dBu to a 1/4" Jack on the rear panel.

A 0.1" connector is fitted to take the post-fade, unbalance d auxiliary output signals to an optional VU meterbridge.

button (electronically latching) switches the post fader signal to the

AUX

level control. The gain is 10dB gain

Functional Description 4.21

Page 48

Rear Connectors

EXTERNAL TALKBACK IN, TALKBACK MIC IN (3 pin female XLR)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

INSERT RETURNS (1/4" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

INSERT SENDS (1/4" TSR Jack)

Tip Signal Hot Ring Ground sense Sleeve Ground

2-TRACK RETURNS (1/4" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

MONITOR, MONO OUTPUTS (1/4" TSR Jack)

Tip Signal Hot Ring Ground Sense Sleeve Ground

MIX OUTPUTS (3-pin male XLR)

Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold

PHONES OUTPUT (1/4" TSR Jack) (Front-panel mounted)

Tip Left Signal Ring Right Signal Sleeve Ground

AUXILIARY OUTPUT (1/4" TSR Jack)

Tip Signal Hot Ring Signal Cold Sleeve Ground

4.22 Functional Description

Page 49

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The optional meterbridge has 11 VU meters: 8 (marked 1 - 8) which may be switched to monitor the Group Outputs, the Auxilliary Outputs, or the Matrix Outputs. The remaining 3 meters monitor the Left, Right and Mono Outputs. The Mono Output Meter also monitors the Solo signal when any Solo/PFL button is active.

The Meter Source Select Switches allow you to switch the meters, which are marked 1 - 8, to monitor the Group Outputs or the Auxilliary Outp uts or the Matrix Outputs. The switches are electonically latching and also mutually cancelling. An integral LED indicates which of the three switches is selected.

Functional Description 4.23

Page 50

4.24 Functional Description

Page 51

Mute Scenes/Mute Groups

& MIDI Module

Functional Description 4.25

Storing MIDI Parameters With Mute Scenes 4.37 Editing MIDI Parameters In Mute Scenes 4.39 Setting The Global MIDI Receive/note On/Off Channel 4.40 Table Of MIDI Note Numbers And Console Mutes 4.41 MIDI Implementation Chart 4.42

Page 52

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The MIDI/ Scene Set module provides two main functions: the Mute Scenes Controller/Mute Groups Controller, and the MIDI Controller (DataFader)

Mute Scenes Controller/Mute Groups Controller

This allows the status of all the input and output cut switches to be me morised, and stored, in battery-backed memory within the console, as one or more ’snapshots’ or Mute Scenes. Up to 128 scenes are possible internally, mo re are possible if a MIDI SysEx data filer device is used to off-load the console’s internal memory.

This scene-set automation replaces the electro-mechanical mute gr oups found on live consoles up to now.

MIDI Controller

The integration of MIDI within the system further extends the power of the ’Scene Set’ automation, because MIDI prog ram changes can be sent out autom atically as a Mute Scene is selected (or ’Recalled’) and these can be used to select relevant patches on outboard FX devices, etc. Alternatively , by only storing program change messages and leaving the console mutes the s ame in ea ch sc ene , the sys tem c an b e used simply to change FX programs from the console.

The system will also respond to incoming program chang e messages, so the console can be stepped through its mute scenes by remote control, or automatically by a MIDI sequencer if necessary.

The MIDI capabilities also include the sending and receiving of MIDI Note-On a nd Note-Off messages from each mute switch on the console, so that muting a channel will send out a Note-Off command and un-muting will send a Note-On. (Or, working in reverse, channels can be turned on and off by sending Note messages into the console). A useful application of this facility would be to trigger an outboard sampler by un-muting the input channel to which it is connected. Pressing the mute switch on the console would then have the dual function of turning on the audio input from the sampler, and playing the actual sound effect.

The possibilities are almost endless with MIDI control, a s more and more equipment includes a MIDI interface.

The DataFader is a further extension of the K3’s MIDI capabilities, giving even more control of outboard equipment from the console’s control surface. The DataFader is a real time control which generates MIDI Con tinuous Controller d ata as it is moved, and sends it out via the console’s MIDI output. Contin uous Controller data can be used to adjust volume levels, delay times, dry/fx mixes etc. of many outboard fx units, as well as almost any MIDI controlled device. Even lighting consoles, for example, can be remotely controlled with Continuou s Controller data. This opens up a whole range of possibilities for integrated show control, and is a facility not available on any other console of this type.

When the DataFader is used in conjunction with the Mute Scenes controller, it becomes even more powerful:

The particular parameter being controlled (the MIDI Controller ’number’), as well as the MIDI channel on which the data is sent, can be saved with each mute scene, so for example, in one scene the DataFader could be used to crossfade a lighting scene, and in the next it might be controlling the dec ay time of a reverb. All this can be preprogrammed so that the engineer only has to recall each scene and move the DataFader; the actual information about what the fader is doing when it is moved is automatically recalled with each scene.

4.26 Functional Description

The following pages give more detailed information about actually using the MIDI/Scene Set module.

Page 53

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MIDI Controller

14 13

10 12

This module has two distinct functional areas: The Mute Scenes/Mute Groups Controller and the MIDI Controller (some controls are shared by these two areas).

Mute Scenes Controller

The Mute Scenes controller is able to store the Cuts (mutes) for up to 128 different scenes (1 to 128). There is a further, non-sta ndard, scene ca lled ALL which appears on the display between 128 and 1. This allows you to store the same cuts in all of the scenes 1 to 128 (see page 4.32). In addition, MIDI Program Ch ange with channel, and MIDI Controller Number with channel may be stored for each scene.

The 3-digit 7-segment display. This primarily displays the current scene number, information relating to the scene number, and information relating to the MIDI controls It is also used to display the preview scene number, indicate when changes to the cuts have been made (by flashin g the d ec imal poin ts), and it is used to prompt the user for confirmation that changes are to be stored.

The Up key is used to increment the scene number as shown in the 7-segment

6 7

display. It is also used as a ’Yes’ button to confirm that you wish to store changes.

The Down key is used to decrement the scene number as shown in the 7-segment display. It is also used as a ’No’ button to allow you not to store changes.

Whenever the Up or Down key is pressed the scene number will change. However the Cuts for that scene number will not be activated until you press

RECALL

to remind you that the Scene number which is displayed is not active on the desk.

. Note that until you press RECALL, the numbers in the display will flash

The 8 Mute Group or Mute Scene buttons. See pages 4.33 to 4.36 for deta ils.

3 4

number it also stores the MIDI Global Channel Number, The MIDI program-change value and channel, and the MIDI controller number and channel. (Note: STORE and RECALL are illuminated if any parameter (cuts or MIDI) is different from the recalled scene)

change number and the MIDI channel used for sending and receiving program changes. After you have pressed the PROG CHANGE button, which latches electronically, the change number is displa yed. The program change message value (1 to 128) may be changed using th Up/Down buttons (note: the ac tual MIDI number which is sent is in the range 0 - 127, i.e one less than the displayed value). As changes are made, the appropriate program change is sent. The MIDI channel number may be viewed by pressing and holding the MIDI CHANNEL button. The channel number may be changed by using the Up/Down buttons.

STORE

The

PROG CHANGE

The

Mute Scenes/Mute Groups Controller

without affecting the current status of the console. This is a useful function during live performances. Pressingthe PREVIEW buton toggles the console between ’Preview’ made and ’Active’ mode. The console is always in one of these two modes.

Number to be displayed. This may be set to one of 1 to 16 or ANY. T his is done by using the Up and/or Down buttons. This channel will receive Note On and Note Off

PREVIEW

The

Pressing the

button is used to store changes made to scenes. For each scene

button allows you to view and change the MIDI program

button allows you to preview and change any values in a scene

MIDI CHANNEL

button causes the Global MIDI Channel

Functional Description 4.27

Page 54

information which will turn the appropriate cuts on and off, it will also receive Program change information to select mute scenes. This channel will also transmit Note On and Note Off data from the cut switches: note that if the MIDI CHANNEL is set to ANY no Note On or Note Off data will be sent.

MIDI Controller

14 13

10 12

MIDI Controller

The MIDI Contoller section is completely separate from the Mute Scenes controller, although it shares the controls and display of the latter for the p urpose of adjusting its various parameters. These parameters are also stored along with the mute information in each scene.

The purpose of the MIDI Controller section is to send continouos controller data from the DataFader directly to the MIDI Out socket on the rear of the mod ule. This may be used to control parameters on remote devices, e.g. FX units, samplers etc.

The type of data sent (e.g. volume, pitch bend, etc) may be selected , and a MIDI channel, which may be different to that used for program changes, may also be selected.

The MIDI controller number and channel is viewed and ch ang ed by pre ss ing

SET CONTROLLER

the continuous controller number is displayed, and you may change it using the Up/Down buttons (see table 1 showing standard controller numbers and their

6 7

functions). You may then view the controller channel numbe r by pressing and holding the MIDI CHANNEL button. The MIDI controller channel number is displayed, an d you may change it using the Up/Down buttons.

The DataFader allows you to send data values between 0 and 127 on the designated controller number and channel. Note tha t data values are only sent when the fader is moved: as soon as you stop moving the fader the data strea m stops. The exception to this is when you activate the ON switch: the current value of the fader is sent once. The DataFader is marked with two scales : 0 - 127, which indicate s the MIDI Controller value being sent; and 0 - 100%, which gives an indication of volume or depth of the parameter in question.

button which latches electronically. At this point the

The DataFader is only active when the ON switch is active, as indicated by the switch’s internal LED. The ON switch allows you to ’punch in’ a preselected controller value to create a sudden control change.

Mute Scenes/Mute Groups Controller

Saving and Loading The Memory

The module’s internal battery-backed RAM holds all the data for up to 128 scene s. This memory data may be ’dumped’ in to an external stora ge device, so that another set of scenes may be programmed in whilst retaining a backup of the original set of scenes. This is done by using the MIDI System universal bulk dump method. Various devices are available on which to store the dumped data; these include stand-alone MIDI bulk-dump recorders, and many sequencer packages or keyboards.

Pressing the console’s Random Access Memory (RAM) via the MIDI output. The 7-segment display indicates three continuously illuminated bars to show the duration of the outgoing MIDI data.

Pressing the bulk dump of the RAM into the MIDI input. When the DUMP IN button has not been pressed, the RAM is protected, and c annot be overwritten by an incoming bulk

DUMP OUT

DUMP IN

button primes the console to accept a syste m universal

button triggers a system universal bulk dump of the

4.28 Functional Description

Page 55

14 13

10 12

dump. When you do press the DUMP IN button the 7-segment display shows three flashing bars, which stop flashing while incoming MIDI data is being re ceived . At the end of the dump, the RAM is protected again, and the 7 -segment display returns to the scene number display. To abort the DUMP IN procedure (e.g. if no data is

received), the DUMP IN button may be pressed while the flashing bar is displayed. The 7-segment display returns to the scene number display.

The DUMP IN button should not be pressed while data is be ing received, otherwise the data will not be properly restored.

MIDI Controller

6 7

2 3

Mute Scenes/Mute Groups Controller

Table 1 - Controller Numbers

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Functional Description 4.29

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Mute Scenes may be stored using two alternative methods:

Active Mode

This is the default mode, but it is also a ’live’ mode, that is, any cuts which you select will affect their channels immediately. We do not recommend using this mode during a performance.

So assuming that you are not in a live performance, you may set mute scenes in this mode as follows:

Press the required cut buttons on any of the input chann els, group EQ or group/stereo modules. At this point the 7-segment display will show 3 fla shing dots (this indicates that a change to the cuts has taken pla ce),and the STORE and RECALL buttons will also illuminate. Next, select a Scene number by pressing the Up or Down buttons. There are 128 scenes(+ ALL);note that the UP and DOWN buttons will wrap around, i.e. if scene 128 is displayed and you press UP, the display will show sc ene ALL, when you press UP again the display will show scene 1. When the scene number is correct press the Store Button. The display will cycle through ’YES’, ’no’ and the scene number which is about to be overwritten. Press YES to confirm that you wish to store this Scene. If you press NO the scene number will revert to the number which was shown prior to the changes, and the changes will not be stored.

Preview Mode

Preview Mode is selected by pressing PREVIEW. This mode is not ’live’, that is, any cuts which you select will not cut the audio signal, but they will be shown on the Preview LEDs adjacent to the CUT switches in question. We recommend using this mode when editing scenes during a live performance. The proc edure for storing the mutes is the same as for the Active Mode described above.

4.30 Functional Description

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There are two ways of recalling scenes:

Active Mode

This is the default mode, it is also the ’live’ mode and is therefore the one which is used during a live performance.

Suppose that you wish to recall scene 1. You change the display to scene 1 by use of the Up/Down switches. Note that the Scene number is flashing. This is to alert you to the fact that the cuts which are active are not the o nes for the displayed scene, in this case scene 1. As soon as you press RECALL the cuts stored for that scene will be activated. The Program Change Number will also be transmitted on the stored channel number via the MIDI Output.

At this stage,during scene 1, you may wish to get ready to activate scene 2, To do this select scene 2 using the UP button. Once again the scene number will flash to warn you that the cuts have not yet been activated. At the appropriate time in the performance you will press RECALL again and the cuts for scene 2 will be activa ted and, of course, the stored MIDI Program change number will be transmitted on th e stored channel number.

The Scene number display acts as a pre-sele ct for the mute scenes . This allows you to select scenes which are not in numerical order without having to activate every scene in between them. Alternatively you may choose to hold down the RECALL button as you step through the scenes with the Up/Down buttons. In this case the cuts are activated each time you change to the next scene number.

Preview Mode

Preview mode is entered by pressing the PREVIEW button. If a scene number is selected and the RECALL button is pressed the selected mute scene will be illustrated by illumination of the Preview LEDs on the inputs in question. The actual cuts on the inputs will not be affected, a nd will still be set to the scene number which was displayed prior to pressing the PREVIEW button. In this way any scene may have its mute status inspected without disturbing the active scene’s mutes.

To exit Preview mode you have to press PREVIEW again. The display will return to the currently-active scene.

Functional Description 4.31

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The ALL scene allows selected data to be copied uniformly across all 128 scenes, to facilitate ’global’ setting of the console (eg changing the DataFader to Co ntroller #7 on all scenes). The currently displayed mute status or parameter value will be copied to all scenes when store is pressed.

Example 1

To copy a setup of mutes to all scenes, for use as a starting point when programming:

1. Select either Active or Preview mode, usin g the Previe w button.

2. Use the Up/Down and Recall buttons to select and recall the ’ALL’ scene.

3. Set up the required combination of input or output mutes by pressing the console’s mute buttons.

4. Press STORE. The display scrolls the message ’COPY TO ALL

-YES-NO’.

5. Confirm the Store by pressing the ’Yes’ button. The display scrolls the message YES-NO-ALL. Press the Yes button again to double confirm the Store. The mute setup will be copied into all scenes, overriding any previously stored mute scenes.

Example 2

To change the DataFader to Controller #7 on all scenes:

1. Select either Active or Preview mode, usin g the Previe w button.

2. Use the Up/Down and Recall buttons to select and recall the ’ALL’ scene.

3. Press the Set Controller button -the 7-segment display change s to sho w the currently stored MIDI Controller number.

4. Use the Up/Down buttons to select Controller number 7 on the display.

5. Press STORE. The display scrolls the message ’COPY TO ALL

-YES-NO’.

6. Confirm the Store by pressing the ’Yes’ button. The display scrolls th e message YES-NO-ALL. Press the Yes button again to double confirm the Store. The Controller 7 will be copied into all scenes, overriding the previous setting.

Note that care is needed when using ALL due to the effect it has on scenes which are not currently selected. (This is the reason for the double-confirm). Once the ’Copy to All’ message has been double confirmed, it cannot be reverse d. The only way to restore the previous setup is to either go through each scene and manually change the parameters, storing each change, or reload the console’s RAM memory, if this has been backed up using the bulk dump facility.

4.32 Functional Description

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The M1 - M8 buttons can be used in two ways, depending on the application.

Mute Scenes

In this mode the M1 - M8 buttons simply act as instant recall buttons for any of the 128 scenes which have already been stored using the 7-segment display and STORE button. This is useful in a theatre environment where a certain number of scenes need to be recalled often: finding the number on the 7-segment display could be laborious.

Only one scene at a time can be recalled with this mode.

Mute Groups

This mode may be thought of as the software version of the traditional ’mute groups’.

This mode provides the facility to use the M1 - M8 buttons on the bottom of the midi module as conventional Mute Groups. This facility simplifies the creation of mute groups, and is well suited to live music applications where the engineer does not wish to get involved with programming mute scenes using the 7-segment display. This facility also allows mute groups to be toggled on and off and to be ’layered’ in the same way as with a conventional mute group system.

The Mute Groups mode separates the M1 - M8 buttons from the 128 scenes , giving in effect an extra 8 ’special’ scenes which are used for mute grouping. Thus the M1

- M8 buttons can now be used independently of the rest of the midi module, simplifying operation.

Switching between Mute Scenes mode and Mute Groups mode

The user only has to decide once which mode is preferred: the console remembers which mode is in use every time it is powered up, unless you want to change mode for any reason.

Swapping between Mute Group mode and Mute Scenes mode is done at power u p. To change from one mode to the other you must hold down the M8 button during the power-up sequence. The new mode will then remain active during each mixing session thereafter, until the M8/power-up oeration is performed again to swap to the other mode.

The default mode when leaving the factory is Mute Group Mode.

Functional Description 4.33

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The following instructions only apply to ’Mute Group’ mode.

How To Set Up A Mute Group

Make sure that the console is in ’Mute Group’ mode (see ’Switching between Mute Scenes Mode and Mute Groups Mode’ on page 4.33).

To set up a Mute Group you must be in on the Midi module). Once in PREVIEW mode, you can select the mutes required in the mute group by pressing the appropriate CUT switches. This will cause the red Preview LED to start flashing as an indication of selection. (The channel audio will not be affected, as you are in PREVIEW mode).

To store these mutes as Mute Group 1 you should hold down the STORE button and press the M1 button. The Store operation does not need to be confirmed. Similarly if you want to assign the active mutes as Mute Group 8 you should hold down the STORE button and press the M8 button. This principal applies to assigning mutes to any of the buttons M1-M8.

N.B. Each individual mute may belong to one or more Mute Groups. Alternatively you may choose not to assign a particular mute to any groups at all.

Using The Mute Groups

Once mute groups have been assigned as described above, they can be checked if required by pressing the M1 - M8 buttons whilst still in PREVIEW mode. The Preview LEDs will flash to confirm which channels are assigned to the selected mute group. To use the mute groups during the performanc e, PREVIEW mode must be exited (press the Preview button).

Operating the M1 - M8 buttons now will cause the selected channels to CUT. (Preview mode can be re-entered at any time during the performance, for checking purposes).

How Mute Groups Behave In Practice

Each of the buttons M1-M8 will be illuminated when that group is active. Press ing one of the buttons M1-M8 to select a Mute Group will mute all channels assigned to that group. Pressing M1-M8 to deactivate the group will un-mute the assigned channels. If more than one mute Group is selected at a time, the result will be a ’layering’ or ’additive’ effect.

PREVIEW

mode.(Press the Preview button

4.34 Functional Description

In addition, channel CUTs can still be unmuted locally afte r they ha ve b een c ut by a Mute Group.

Mute Groups & Scene Recall

The Scene-set system (if used) takes priority over the Mute Group system. When a Mute Scene is recalled by selecting one of the 128 sc enes and pressing the RECALL button, any Mute Groups which are active at the time are deactivated. This also applies if the Mute Scene is recalled by an incoming MIDI Program Change message.

Once a scene has been recalled however, Mute Groups can then be activated and will appear to ’layer’ on top of the existing scene.

Mute Groups and Program Change Messages

Note that program changes cannot be stored or recalled from the M1 - M8 buttons when in Mute Group Mode. If program changes are required, a scene must be recalled using the 7-segment display, or the M1 - M8 buttons must be switched to Mute Scenes mode.

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Example 1: Setting up and using a Mute Group

1) In Preview mode, assign a set of mutes to Mute Group 1 (M1), by pressing CUT on the channels you want to assign, holding STORE and pressing M1.

2) Press Preview to exit Preview mode.

3) Start from a state in which NO channels are muted and NO Mute Groups are active.

4) Press M1 to activate Mute Group 1. All the channels belonging to the Mute group are CUT.

5) Press one of the CUT buttons directly, unmuting the channel.

6) Press M1 again to de-activate the Mute Group. All the rest of the channels unmute.

7) Now press M1 again to activate Mute Group 1 once again. Same re sult as 4).

Example 2: Layering behaviour of multiple Mute Groups

Repeat the above example, setting up several Mute Groups each w ith different combinations of channels stored. Experiment with activating the Mute Groups on e at a time and together and observe how the layering effect works , e xactly as with a conventional Mute Group system.

Example 3: Manual operation of CUT switches whilst Mute Groups in operation

1) In Preview mode, assign a set of mutes to Mute Group 2 (M2).

2) Press Preview to exit Preview mode.

3) Start from a state in which NO channels are muted and NO Mute Groups are active.

4) Choose one of the channels which you assigned to Mute Group 2, and press its mute ON directly.

5) Press M2 to activate Mute Group 2.

6) Press M2 again to deactivate Mute Group 2 Notice that steps 5) and 6) had no effect on the channel which was muted in step 4).

This demonstrates that Mute Groups do not affect any channels which are already CUT before a Mute Group is activated, even if that chann el is assigned to the Mute Group.

Functional Description 4.35

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When the console is in Mute Scenes mode (see ’Switching between Mute Scenes Mode and Mute Groups Mode’ on page 4.33), the M1 - M8 buttons are designe d to allow ’instant’ recall of any mute scene, without having to use the Up/Down buttons and 7-segment display to find the scene and then recall it with the ’Rec all’ button..

When Mute Scenes mode is first selected , the M1 - M8 buttons a re pre-programmed to select and recall scenes 1-8, so all that is necessary to use them is to store required mute settings into each scene of 1-8. (See ’Storing Mute Scenes’ on p age 4.31). The various combinations of mutes can then be recalled at will by simply pressing the M1 - M8 buttons. The buttons have an ’interlocking’ action, i.e. you can on ly select one at a time, any selection cancels the previous one. (Note: if ovelapping Mute Scenes are required use Mute Group mode - see page 4.34)

Once scenes have been stored, the effe ct of pressing the M1 - M8 buttons is then to instantly select and recall the corresponding scene, in one operation . Any program changes or controllers stored with the scene will also be recalled exactly as if the scene had been recalled using Up/Down and Recall.

For more advanced use, the M1 - M8 buttons can be reassigned from their factory set defaults of scenes 1-8, to any other scene numbers. The only restriction is that you cannot assign a given M1 - M8 button to more tha n one scene at the s ame time, and you cannot assign more than one M1 - M8 button to a given scene number.

This would be useful in a theatre production to provide fast access to given scenes which need to be recalled frequently, for example during rehearsals.

To reassign the M1 - M8 buttons to any scene number:

1 Select and recall the required scene using the Up/Down and Reca ll butto ns.

2 Press and hold down the Store button, and then momentarily press the required M1 - M8 button.

3 Release the Store button. The M1 - M8 button has now been assigned to the current scene.

Note that if the above operation is repeate d with the same M1 - M8 button, the button will be deassigned and will not be assigned to any scene. The M1 - M8 buttons can all be set to ’no scene’ in this way if required.

4.36 Functional Description

Page 63

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At the same time as creating a mute scene, a number of other parameters can be stored.

These are:

• Program change number for the scene

• MIDI channel number for program change messages

• Controller number for DataFader

• MIDI channel for Controller messages

• Global receive channel for incoming MIDI Note on/off messages

All these parameters can be stored at the same time, or e dited individua lly without changing the others. Storing/editing of these parameters can be carried out in either Active Mode or Preview mode, as for the mutes.

Example

Suppose for scene number 12 you want to store the following configuration:

Program change 40, on MIDI channel

DataFader controller number 7, on MIDI channel

1. Select either Active or Preview mode by pressing the PREVIEW button.

2. Select and recall the Scene 12, using the up/down buttons and RECALL button.

3. Press the PROG CHANGE button, which will illuminate. The 7-segment display now shows the currently stored program change number for scene

12. (If the console is new, the program change numbers will be factory-set to be the same as scene numbers, until altered)

4. Use the up/down buttons to change the program number to 40. Note that if you are in Active mode, Program Change messages will be sent out as you increment the display, enabling you to observe the change happening on the outboard equipment. This does not happen if you are in Preview mode.

5. Press and hold the MIDI CHANNEL button at the top of the module. The 7-segment display now shows the currently stored Program Change MIDI channel for scene 12.

6. Use the Up/Down buttons to set the MIDI channel to channel 3. When 3 is shown in the display, release the MIDI Channel button.

Functional Description 4.37

7. Press the SET CONTROLLER button. (The Prog Change button will turn off, and the Set Controller button will illuminate). The 7-segment display now shows the currently stored Controller Number for scene 12.

8. Use the Up/down buttons to change the Controller Number to 7.

Page 64

9. Press and hold the MIDI CHANNEL button at the top of the module. The 7-segment display now shows the currently stored DataFader MIDI channel for scene 12. Use the Up/Down buttons to set the MIDI channel to channel

. When 8 is shown in the display, release the MIDI Channel button. Press the Set Controller button again to turn it off. The 7-segment display now returns to showing the current scene number (12).

10. Press the STORE button to save the changes you have made into scene 12’s memory location.You are prompted by the display to confirm or abort the store operation, by pressing the Yes or No buttons.

Note: The order in which program change and controller numbers are set is not important -in the above example the program change wa s done first, but this is not essential.

4.38 Functional Description

Page 65

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If you want to change any of the MIDI parameters individually within a scene, follow the instructions in the example on the previous page , but omit the steps which refer to parameters you do not wish to change. You can change the value of ju st one parameter if you wish, and then press store. The scene will then be updated with just the changed information. (The other parameters will be updated as we ll, but as you haven’t changed them, this won’t make any difference).

You can also make changes to the console mutes while editing MIDI parameters, and these will be stored along with the MIDI parameters when the Store button is pressed.

If editing is required during a performance for any reason, Preview mode should b e selected, so that the required scene can be recalled for editing without disturbing the existing status of the console.

Functional Description 4.39

Page 66

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As described above, the MIDI channels for Program change tran smit and DataFader transmit are set and stored for each scene.

The MIDI channel for the receiving of Program Changes and both the transmitting and receiving of Note On and Note Off messages can also be set and stored in the same way.

To set the Global Receive/Note On/Off channel:

1. Make sure that neither Program Change nor Set Controller switches are illuminated.

2. Press and hold the MIDI channel switch at the top of the module.

3. Use the Up/Down buttons to select a channel between 1 and 16, or select ’ANY’, which means that the console will ’listen’ on all MIDI channels, but will not transmit on any channel.

4. Release the MIDI Channel button, and press the STORE button. The display scrolls the message YES-NO-Scene Number. Press the Yes button to confirm the Store.

The channel is factory set to channel 1 on all scenes.

4.40 Functional Description

Page 67

Table of MIDI Note Numbers sent/received by K3 mute switches

Table 2

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Functional Description 4.41

Page 68

4.42 Functional Description

Page 69

5. Specifications

Specification 5.1

Page 70

S pecifications

Frequency Response

Any input to any output 20Hz - 20kHz, +0/-0.5dB Mic. input at over +50.dB gain to any output 20Hz - 20kHz, +0/-3dB

Total Harmonic Distortion

(All measurements at +20dBu)

Hi-Z In to Group or Mix out Less than 0.005% @ 1kHz

Noise

(22Hz - 22kHz bandwidth, unweighted)

Mic input Equivalent Input Noise Less than -127.5dBu (150Ωsource) Mix bus output noise (24ch routed) Greater than -81dBu

Input and Output Impedances

Microphone Input Greater than 1.6kΩ balanced Line Inputs Greater than 10kΩ balanced Outputs 75Ω

Input and Output Levels

Note:

Lo-Z input sensitivity -2 to -70dBu, variable Hi-Z input sensitivity +10 to -20dBu, variable Stereo return, 2-track return and Matrix external input +4dBu or -10dBV switchable Theatre direct, Group, Mix, Aux and Matrix outputs +4dBu Standard Direct outputs and Inserts -2dBu

Output Capability

Group, Mix, Aux and Matrix outputs +26dBu into 1kΩ Standard Direct output and Insert sends +20dBu into 2kΩ Theatre Direct output +26dBu into 5kΩ

Crosstalk

(All measurements at 1kHz)

Channel muting Greater than 90dB Channel fader attenuation Greater than 90dB Channel routing Greater than 85dB Channel AUX send attenuation Greater than 80dB

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

5.2 Specifications

SoundCraft K3 theatre User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual