Soundcraft MH3 BROCHURE

LIVE PERFORMANCE CONSOLE

UNRIVALLED FLEXIBILITY. UNBEATABLE VALUE.

Don’t be fooled by its modest price tag. Ideally suited for

both Front-of-house and Monitor use, the new Soundcraft

MH3 provides sound contractors and venues with the critical

commercial advantage of complete console flexibility. All it

takes is the touch of a button to place either Groups or Aux

Masters onto faders, delivering intuitive and uncompromised

operation in either application.

The MH3 is available in five frame sizes with legendary

Soundcraft sound quality delivered via a new high-headroom

mic amp, classic British EQ and rigorous circuit design.

What’s more, the MH3 is a true modular

console. Channels can be quickly

removed and replaced in blocks of

eight, making it easy to configure the

MH3 to meet the user’s precise

requirements and ensuring the robust

reliability a life on the road necessitates.

A professional, modular, dual-purpose

live sound console at a truly affordable

price? Welcome to the Soundcraft MH3.

KEY FEATURES

• Versatile design, allowing FOH, Monitors, or Monitors from
FOH configurations

• Semi-modular in blocks of 8 for flexible layouts and easy
serviceability

• Frame sizes 24 mono/4 stereo, 32 mono/4 stereo, 40
mono/4 stereo, 48 mono/4 stereo, 56 mono/4 stereo

• Flexible Auxiliary Bus structure with 2 stereo sends for in­ear monitoring

• 8 group busses and 12 aux busses in FOH mode

• 12 monitor busses (12 mono, or 8 mono + 2 stereo)
in Monitor mode

• Swap mode allows fader control of Aux outputs in Monitor
mode

• Integral 12x4 matrix, can be expanded to 12x8 with
optional matrix module

• 3-band EQ on FX Returns 1-8, switchable to Group or Aux
outputs

• New Mic Amp design with high headroom and
outstanding CMRR

• New EQ design with focused response

• LCR panning on inputs

• 8 VCA groups and 8 Mute groups with snapshot
automation and MIDI control

• Integrated control of BSS Audio Varicurve™ and dbx
DriveRack™

• Integral LED bargraph metering for all inputs and outputs

• Optional VU output meterbridge

MONO INPUT MODULE STEREO INPUT MODULE

MONO INPUTS ARE MODULAR IN BLOCKS OF 8 CHANNELS, AND FEATURE AN INTEGRAL REAR-CONNECTOR
PANEL. THE SMALLEST FRAME SIZE PROVIDES 24 MONO INPUT CHANNELS - 2 MODULES (16 CHANNELS)
TO THE LEFT OF THE CENTRAL CONTROL SECTION AND 1 MODULE (8 CHANNELS) TO THE RIGHT.

New High Performance Input Preamp

The MH3 uses the mic preamp which was designed for the
MH4. This features a high headroom, outstanding CMRR
performance and well-behaved overload characteristics.
The XLR input can handle signals up to +26dBu, with a
gain range of +15dBu to +60dBu and a 20dB gain change
switch. A Peak LED indicates internal signal levels in
excess of +18dBu.

Polarity reverse and phantom power switching is provided,
with both front and rear panel indication of phantom power
status.

Balanced Insert Point

Separate jacks provide a pre-EQ balanced send and
return, at a nominal level of 0dBu.

EQ and HI-PASS Filter

This new design retains the traditional Soundcraft
response, but sounds better, with steeper slopes on the HF
stage focusing the control where you want it, and some carefully tailored
overshoot on the LF band, which automatically controls the muddy lower­mid frequencies when boosting lows. The all-important high-pass filter is
variable from 30Hz - 400Hz with bypass if required.

The EQ section is four band, with shelving sweep high and low frequency
sections, and fully parametric high-mid and low-mid bands.The frequency
ranges are 30Hz-500Hz (LF), 75Hz-1.3kHz (Low Mid), 750Hz-13kHz (High
Mid), and 1.2kHz-20kHz (HF), with ±15dB of cut or boost available at any
frequency. The Q is variable on the two mid bands from 0.5 to 3.

Aux Sends

There are 12 aux sends, which can be used either as FX sends in FOH use,
or monitor mixes for monitoring. Aux 1&2 and 3&4 can be switched to
stereo pairs, with separate level and pan for in-ear sends, using the
adjacent colour-coded STE switches. Each send has a maximum gain of
+6dB. The auxes can be switched pre- or post-fader by the adjacent PRE
switches, which are in pairs for the first 8 sends, and as one group for aux
9-12. The default pre-fade signal for all auxes is pre-EQ but can be
changed to post-EQ via internal links (both feeds follow the channel mute).

Subgroup Routing

In addition to the 12 aux sends, 8 busses are provided for conventional
subgrouping. Routing to these is via 8 individual routing switches.The PAN
to Groups switch allows any odd/even pair of group busses to follow the
channel pan pot as a stereo pair.

Direct Output

A direct output on balanced 1/4" jack is available from the channel. The
source is controlled by the DIR switch, which switches the direct output from
pre-EQ to post-fade when the switch is pressed in. In addition, there are
internal solder links to alter the signal feeds in both of the switch positions,
as follows:

Solder links

DIR switch pressed post-fade (default) post-EQ

DIR switch not pressed pre-EQ

(default) pre-filter

Mix Bus Routing and Pan controls

The signal is sent to the stereo mix bus and the mono (C) bus using the
MIX and C switches. The PAN control, which gives 3dB centre drop, operates
on the stereo mix bus signal, unless LCR panning is engaged. The mono bus
(C) is always fed directly with the post-fader signal, unless LCR panning is
engaged.

LCR Panning

The LCR switch changes the mode of the pan pot from normal left–right
panning with a 3dB centre drop, to 3-way LCR panning,
requiring both the C bus and LR stereo mix bus to be
routed, and the pan pot panning from left to C, and C to
right. When the pot is physically centred, there is no output
from the left and right mix bus outputs.

Fader

A high-quality long-throw 100mm fader controls the level
to all busses, and has 10dB of gain when fully up as well
as an expanded scale around the critical unity gain area
for maximum resolution.

MUTE

The MUTE switch mutes the signal to all busses, including
pre-fade aux sends. The mute circuit can also be activated
by the mute group system, a SIP mute signal, a VCA mute
signal, or internal snapshot control from the scene
computer. A Preview mode allows editing and checking of
mute groups and snapshots without disturbing the audio
passing through the console, and mutes can be set ‘Safe’.

LED Input Metering

Every channel is fitted with a 12-segment LED bargraph
meter, positioned next to each fader for maximum visibility
and giving immediate graphic indication of incoming signals at the insert
return.

VCA Assignment

Each channel can be assigned to any combination of 8 VCA subgroups,
using the SOLO button on each channel, in conjunction with the VCA master
SOLO switches in VCA assign mode. Once assigned to a VCA group, the
channel’s fader level, mute and solo button come under the control of the
VCA master controls, but can still be operated locally.

SOLO

The SOLO button provides a PFL feed to the engineer’s headphones or
monitors, or triggers a destructive solo in place, depending on the mode
selection at the master section. The SOLO button can also be activated
remotely from a VCA solo when assigned to a VCA group, giving stereo AFL.
Intercancel or additive soloing is possible, with or without input priority, and
solos can be cleared with a single button press at the master section. The
SOLO button also features automatic momentary operation, by pressing and
holding for more than 0.5 seconds.

A MODULE OF 4 STEREO INPUT CHANNELS IS FITTED AS STANDARD TO ALL FRAME SIZES, ALWAYS TO THE
LEFT OF THE MASTER SECTION. MORE STEREO INPUTS CAN BE ADDED BY REPLACING 8 MONO INPUT
MODULES ANYWHERE IN THE FRAME. TWO OPTIONAL MODULES ARE AVAILABLE WHICH WILL INCREASE
THE NUMBER OF STEREO INPUTS: AN 8 STEREO INPUT MODULE OR A 4 MONO + 4 STEREO INPUT
MODULE. MORE DETAIL IS GIVEN ON THESE IN THE CONFIGURATIONS SECTION.

Input Stage

A stereo version of the mono input’s high performance
preamp offers the same gain range of +15dBu to
+60dBu with phantom power switching and polarity
reverse on the left channel. The peak LED indicates
signals in excess of +18dBu, while two MONO switches
cut either left or right channel, feeding the alternate
channel to both module paths, or if both are pressed, a
mono sum of L and R to the module paths.

Balanced Insert Points

Separate jacks provide a pre-EQ balanced send and
return, for left and right channels, at a nominal level of
0dBu.

EQ and HI-PASS Filter

The EQ section is stereo four band, with sweepable
frequencies on all bands. The frequency ranges are
35Hz-400Hz (LF), 250Hz-2.5kHz (Low Mid), 500Hz-5kHz

(High Mid), and 1.8kHz-16kHz (HF), with ±15dB of cut
or boost available at any frequency. The Q is fixed on all bands at 1.1.
The stereo high-pass filter is fixed at 80Hz, with bypass if required.

Aux Sends

As on the mono input there are 12 sends, for FX or monitor use. Aux
1&2 and 3&4 can be switched to stereo pairs, with separate level and
pan for in-ear sends, using the adjacent STE switches, colour-coded to
match the relevant send knob. Each send has a maximum gain of +6dB,
and is always fed from a mono sum of the left and right signals. The
auxes can be switched pre- or post-fader by the adjacent PRE switches,
which are in pairs for the first 8 sends, and as one group for aux 9-12.
The default pre-fade signal for all auxes is pre-EQ but can be changed to
post-EQ via internal links (both feeds follow the channel mute).

Subgroup Routing

In addition to the 12 aux sends, 8 busses are provided for conventional
subgrouping. Routing to these is via 8 individual routing switches.
Normally the group switches are fed by a mono sum of left and right
signals, but the STE switch allows any odd/even pair of group busses to
be used as a stereo pair, following the channel’s balance control.

Mix Bus Routing and Balance Controls

The signal is sent to the stereo mix bus and the mono bus using the MIX
and C switches.

The BAL control allows the left signal to be faded down to zero level
when turned fully clockwise, and vice-versa for the right signal. In the
centre position, both channels are fed at unity gain to the mix bus.The
balance control also affects the L-R balance within the mono sum sent
to the aux sends or group busses. The mono (C) bus is always fed
directly with a mono sum of the stereo post-fader signal.

VCA subgroups, using the SOLO button on each channel, in conjunction
with the VCA master SOLO switches in VCA assign mode. Once assigned
to a VCA group, the channel’s fader level, mute and solo button come
under the control of the VCA master controls, but can still be operated
locally.

SOLO

The SOLO button provides a stereo PFL feed to the engineer’s
headphones or monitors, or triggers a destructive solo in place,
depending on mode selection at the master section. The SOLO button
can also be activated remotely from a VCA solo when assigned to a VCA
group, giving Stereo AFL. Intercancel or additive soloing is possible, with
or without input priority, and solos can be cleared with a single button
press at the master section.

Fader

A high-quality long-throw 100mm fader controls the
level to all busses, and has 10dB of gain when fully up
as well as an expanded scale around the critical unity
gain area for maximum resolution.

MUTE

The MUTE switch mutes the signal to all busses,
including pre-fade aux sends. The mute circuit can also
be activated by the mute group system, an SIP mute
signal, a VCA mute signal, or internal snapshot control
from the scene computer. A preview mode allows editing
and checking of mute groups and snapshots without
disturbing the audio passing through the desk, and
mutes can be set ‘Safe’.

LED Input Metering

Every channel is fitted with a 12-segment LED bargraph
meter, positioned next to each fader for maximum
visibility and giving immediate graphic indication of
incoming signals at the insert return.

VCA Assignment

Each channel can be assigned to any combination of 8