Soundcraft Vi3000 operation manual

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User Guide v1.4

Vi3000 USER MANUAL

IMPORTANT INFORMATION

IMPORTANT

Please read this manual carefully before using your mixer for the

rst time.

This equipment complies with the EMC directive 2004/108/EC and LVD 2006/95/EC This product is approved to safety standards IEC 60065:2001 (Seventh Edition) +A2:2010 EN60065:2002 +A1:2006 +A2:2010 +A11:2008 +A12:2011 UL60065 2012 7th Edition CAN/CSA-E60065-03 + A2: 2012 And EMC standards EN55103-1: 2009 EN55103-2: 2009

Warning: Any modication or changes made to this device, unless explicitly approved by Harman, will invalidate the authorisation of this device. Operation of an unauthorised device is prohibited under Section 302 of the Communications act of 1934, as amended, and Subpart 1 of Part 2 of Chapter 47 of the Code of Federal Regulations.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is

encouraged to try to correct the interference by one or more of the following measures:

* Reorient or relocate the receiving antenna * Increase the separation between the equipment and the receiver

* Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

* Consult the dealer or an experienced radio/TV technician for help

E&OE September 2014

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.

Harman International Industries Limited

Cranborne House, Cranborne Road, Potters Bar, Hertfordshire, EN6 3JN, UK

Tel: +44 (0)1707 665000 Fax: +44 (0)1707 660742

http://www.soundcraft.com

IMPORTANT INFORMATION

Vi3000 USER MANUAL: CONTENTS

1.0 INTRODUCTION

1.1: Saftey Notices & Warnings

1.2: Product Warranty

2.0: SPECIFICATIONS

2.1: Console block diagram

3.0: QUICK START GUIDE

4.0: HARDWARE OVERVIEW

4.1: Local I/O

4.2: MADI / DANTE Sources / Switching

5.0 OPERATIONS OVERVIEW

5.1: Manual Conventions

5.2: Vistonics II

5.3: Console Bays

5.4: FaderGlow™

5.5: Buttons

5.6: Encoders

5.7: Gangs

5.8: Labelling

6.0: INPUTS

6.1: Navigation - Fader Pages

6.2: The Channel Strip

6.3: Encoder Mode

6.4: VST Control

6.5: Touchscreen / Signal Path

6.5.1: Input Section

6.5.2: EQ

6.5.3: Dynamics

6.5.4: Busses

6.5.5: Output Section

7.0: OUTPUTS

7.1: LCR Mix Masters

 7.2:BusConguration

7.3: Bus Master Control

7.3.1: Master Vistonics Control

7.3.2: Channel Strip

7.3.3: Processing Chain

7.3.4: Graphic EQs

8.0: MATRIX SYSTEM

9.0: MUTE & VCA GROUPS

9.1: Mute Groups

9.2: VCA Groups

9.3: Aux VCA Groups

10.0: MONITORING

10.1: Console Controls

10.2: Setup

10.2.1: MON Setup

11.0: SOLO SYSTEM

11.1: Primary Behaviour

11.2: Input Priority Mode

11.3: Autocancel Behaviour

11.4: Follow Output Solo Mode

12.0: METERING

12.1: Inputs

12.2: Busses

13.0: EDIT SYSTEM (COPY, PASTE, AND LIBRARY)

13.1: Copy, Paste, Undo

13.2: Library Basics

13.3: Library File Screen

14.0: SNAPSHOTS, CUELISTS, GLOBAL FILTER

14.1: Console Controls

14.2: Cuelist Control

14.3: Cue Details

14.3.1: Cue Number & Timecode

14.3.2: Snapshot/Cue Name

14.3.3: MIDI

14.3.4: GPIO

14.4: Snapshot Filters

14.4.1: Snapshot Filter Scope

14.4.2: Global Filter

15.0: TALKBACK & OSCILLATOR

15.1: Console Controls

15.2: Oscillator Setup & Use

15.3: Talkback Setup

15.4: Talkback Return Setup

16.0: MAIN MENU

16.1: Main (Screen, Security)

16.2: Shows

16.2.1: Show File Data

16.3: GPIO

16.4: Sync

16.5: Tielines

16.6: FX

16.7: MIDI

16.8: Log

16.9: Settings

16.10: System

17.0: LEXICON FX

17.1: Using The FX Processors

17.1.1: Tap Tempo Functionality

17.2: FX Algorithms & Parameters

17.2.1: Reverbs

17.2.1: Delays

17.2.1: Misc

18.0: VM² WIreless Status Monitoring / HiQnet

 18.1:HiQnetNetworkConguration

18.1.1: VM ² Device List

18.2: Status Displays

18.2.1: Channel Strip Status

18.2.2: VST Status

CONTENTS

Vi3000 USER MANUAL

Welcome To The Vi3000!

New Look

The Soundcraft Vi3000 features an all-new appearance

with a more efciently designed control surface, 36 faders, 24 mono/stereo busses and a sweeping black

screen panel with four Vistonics II™ touchscreen interfac-

es with sleek, updated 3D graphics. Because the Vi3000 has four touchscreens, it’s the only console in its class that can be used by two engineers at the same time. And at show time... Settings libraries, copy/paste functions, sophisticated automation and radio mic status monitoring, FaderGlow™, processing from dbx, BSS, Lexicon and Universal Audio (Optional Realtime Rack), and more will not let you down.

SpiderCore DSP

The Vi3000 is a console with friends in high places. Sound quality is assured by Soundcraft SpiderCore - a brand new 40-bit oating point DSP engine that mixes FPGA and DSP technology in a unique combination that maximises I/O routing and DSP mixing capability in a footprint small enough for inclusion within a control

surface.

Internal FX come courtesy of 4 independent stereo Lexicon multi effects units, each providing a choice of 14 reverbs, 7 delays and 8 pitch shifting effects, patchable to input channels, aux outputs and channel inserts. BSS third-octave Graphic EQ is available on every bus output, with fader bays illuminating in red to indicate GEQ mode.

...And More FX

The Vi3000 can also accommodate the new Soundcraft

Realtime Rack, a hardware/software unit designed in collaboration with plug-in manufacturer Universal Audio that provides access to 74 industry-standard UAD plug-ins.

1.0: Introduction

DANTE As Standard

The Vi3000 is the rst Soundcraft console to incorporate a Dante interface as standard, for seamless digital audio networking with Dante-enabled devices.

Connectivity

In addition to a full complement of analog and digital inputs and outputs, the console provides MIDI, USB, Ethernet, DVI out, Dante/MADI record feed outputs, redundant power supply and other connections. The Vi3000 has two expansion bays that can be tted with MADI Stagebox cards, to connect multiple Soundcraft Stagebox input expander modules.

Shine A Light

Along with its greatly expanded functionality, the Vi3000

retains all the features that have made the Soundcraft Vi

Series the consoles of choice for live sound engineers worldwide, such as FaderGlow™ - illuminated faders that display different colors according to function, the ability to store and recall snapshots and cues, compatibility with Soundcraft’s ViSi app that allows remote control from an iPad.

Optional 64 channel stagebox

With up to 48 on-board mic inputs, Vi3000 is happy to work with existing analogue multicore systems. Also available is an optional remote stagebox housing 64 analogue mic/line inputs and 32 analogue line outputs, with 48V phantom power and a 80Hz HPF before the A-D converters. Mic amp gain can be controlled remotely from

the console surface.

1.0 1.0 Introduction

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

1.1: INTRODUCTION > SAFETY

SAFTEY NOTICES

For your own safety and to avoid invalidation of the warranty

please read this section carefully.

THIS UNIT MUST BE EARTHED

Under no circumstances should the mains earth be disconnected from the mains lead.

The wires in the mains lead are coloured in accordance with the following code:

Earth: Green and Yellow (Green/Yellow - US) Neutral: Blue (White - US) Live: Brown (Black - US)

As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol.

The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N.

The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L.

Ensure that these colour codings are followed carefully in the event of the plug being changed.

The internal power supply unit contains no user serviceable parts. Refer all servicing to a

qualied service engineer, through the appropriate Soundcraft dealer.

4.3 INPUT CHANNEL > De Esser

1.1 1.1: INTRODUCTION > SAFETY

Vi3000 USER MANUAL

1.1: INTRODUCTION > SAFETY

WARNINGS

• Read these instructions.

• Keep these instructions.

• Heed all warnings.

• Follow all instructions.

• Clean the apparatus only with a dry cloth.

• Do not install near any heat sources such as radiators, heat resistors, stoves, or other apparatus

(including ampliers) that produce heat.

• Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

• Do not use this apparatus near water.

• Do not defeat the safety purpose of the polarized or grounding type plug. A polarized plug has two

blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not t into your outlet, consult an electrician for replacement of the obsolete outlet.

• Protect the power cord from being walked on or pinched particularly at plugs, convenience recectacles and the point where they exit from the apparatus.

• Only use attachments/accessories specied by the manufacturer.

• Unplug this apparatus during lightning storms or when unused for long periods of time.

• Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been

damaged in any way such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally or has been dropped.

• Use only with the cart, stand, tripod, bracket or table specied by the manufacturer, or sold with the apparatus. When the cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

• No naked ame sources, such as lighted candles or cigarettes etc., should be placed on the apparatus.

• Warning: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture.

Do not expose the apparatus to dripping or splashing and do not place objects lled with liquids, such as vases, on the apparatus.

• No user serviceable parts. Refer all servicing to a qualied service engineer, through the appropriate Soundcraft dealer.

• Ventilation should not be impeded by covering the ventilation openings with items such as

newspapers, table cloths, curtains etc.

• 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.

1.1 1.1: INTRODUCTION > SAFETY

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

1.2: INTRODUCTION > WARRANTY

WARRANTY

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

End User means the person who rst puts the equipment into regular operation.

Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, pro-

vided 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 defec-

tive 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 instructions contained in Soundcraft’s manual.

b) The End User has notied Soundcraft or the Dealer within 14 days of the defect appearing; and

c) No persons other than authorised representatives of Soundcraft or the Dealer have 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 specications and otherwise in all respects in accordance Soundcraft’s

recommendations.

5 Defects arising as a result of the following are not covered by this Warranty: faulty or negligent handling, chem-

ical or electro-chemical or electrical inuences, accidental damage, Acts of God, neglect, deciency in electrical

power, airconditioning or humidity control.

6. The benet 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 entitled against the seller of the Equipment.

4.3 INPUT CHANNEL > De Esser

1.2 1.2: INTRODUCTION > WARRANTY

Vi3000 USER MANUAL

 2.0:Vi3000Specications

Vi3000 Specications

Frequency Response

StageboxorLocalMicinputtoLineoutput +0/-1dB, 20Hz-20kHz

AES/EBUIntoAES/EBUOut +0/-0.2dB, 20Hz-20kHz

T.H.D. & Noise

(22Hz-22kHz, unweighted)

StageboxorLocalMicIn(mingain)toLocalLineOut <0.004% @ 1kHz

StageboxMicIn(maxgain)toLocalLineOut <0.035% @ 1kHz

Mic Input E.I.N. <-127dBu (150Ω source)

(22Hz-22kHz bandwidth, unweighted)

Residual Noise -95dBu

(Stagebox line output; no inputs routed, Mix fader @0dB)

CMRR 80dB @ 1kHz

(Stagebox Mic input)

Sampling Frequency 48kHz

Latency < 2ms @48kHz

(Stagebox Mic Input to Local Line output)

AES/EBU Input Sample Rate 32–108kHz (with SRC enabled)

DSP Resolution 40-bit oating point

Internal Clock

Accuracy < +/- 50ppm

Jitter < +/- 2ns

2.0  2.0:Vi3000Specications

Vi3000 USER MANUAL

External Sync BNC Wordclock, Dante network clock

Input & Output Levels

Mic/lineInputs   +28dBu max

LineOutputs   +22dBu max

NominalOperatingLevel +4dBu (-18dBFS)

Input & Output Impedances

MicInputs   2k7Ω

AllotheranalogueInputs >10kΩ

LineOutputs   <75Ω

4.3: INPUT CHANNEL > DYNAMICS

 2.0:Vi3000Specications

AES/EBUOutputs  110Ω

Oscillator 20Hz to 20kHz/Pink/White Noise, variable level

Channel Filters

MicInHPFilter 80Hz xed, 12dB per octave

ChannelHPFilter 20Hz-600Hz, 18dB per octave

ChannelLPFilter 1kHz-20kHz, 18dB per octave

EQ (Inputs and Bus Outputs)

HF  20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving

Hi-Mid  20Hz-20kHz, +/-18dB, Q=0.3-8.7

Lo-Mid  20Hz-20kHz, +/-18dB, Q=0.3-8.7

LF  20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving

Metering Internal 20-segment LED bargraphs plus 9-segment gain reduction meters for all inputs and

Outputs Peak hold variable from 0-2s.

Mains Voltage Operating Range 90-264V, 47-63Hz, auto-ranging

4.3 INPUT CHANNEL > De Esser

2.0  2.0:Vi3000Specications

Vi3000 USER MANUAL

 2.0:Vi3000Specications

Mains Power Consumption

Console 300W (both PSUs operating)

Stagebox(64in/32out) 150W (both PSUs operating)

Internal Mass Storage 120GB SSD Hard Drive

Temperature/Humidity Range

OperatingTemperatureRange 0°C – 45°C (32°F – 113°F)

RelativeHumidity 0% – 90%, non-condensing Ta=40°C (104°F)

StorageTemperatureRange -20°C – 60°C (-4°F – 140°F)

Weight 54kg

Soundcraftreservestherighttoimproveorotherwisealteranyinformationsuppliedinthis documentoranyotherdocumentationsuppliedhereafter.E&OE05/2014

2.0  2.0:Vi3000Specications

4.3: INPUT CHANNEL > DYNAMICS

INPUTS

WCLK

Dante

D21m compatible expansion

Up to 3 cards with 16

D21m compatible expansion

Vi3000 USER MANUAL

 2.1:Vi3000BlockDiagram

OUTPUTS

MIX/MTX SOLO

MASTER

LINE OUT LOCAL I/O

MASTER L

GRM

LEVEL

LOW-

FADER DELAY

Limiter

DYNAMIC

EQUALIZER

MASTER LEFT

SOLO R SOLO L

MIX or MTX 24

MIX or MTX 2 MIX or MTX 1

MASTER C MASTER R MASTER L

P H B

USB

S U S E A

Channels per card

Up to 3 cards with 16

to MTX

INS SEND

TRIM

CUT

AON

LINK

Compressor

4 band

SOLO

MASTER L

MASTER R

MASTER C

to MTX

MASTER R

TRIM

GRM

LEVEL

CUT

LOW-

FADER DELAY

Limiter

DYNAMIC

Compressor

4 band

EQUALIZER

MASTER RIGHT

SOLO

MIX 24

MIX 1

Dante and MADI (OUT)

to MTX

MASTER C

INS SEND

AON

DIR OUT

TRIM

GRM

LEVEL

CUT

LOW-

FADER DELAY

Limiter

DYNAMIC

Compressor

4 band

EQUALIZER

SOLO

MASTER CENTRE

SOLO L

SOLO R

P SOLO

slot

D21m compatible expansion

INS SEND

DIR OUT 96

GRM

AON

MIX or MTX 1

INS SEND

MASTER L

MASTER R

MASTER C

slot

D21m compatible expansion

to MTX

MIX BUS 1

INS SEND

TRIM

LEVEL

CUT

LOW-

AON

FADER DELAY

LINK

Limiter

DYNAMIC

Compressor

4 band

EQUALIZER

SOLO

to MTX

MIX BUS 24

TRIM

GRM

LEVEL

CUT

LOW-

FADER DELAY

Limiter

DYNAMIC

Compressor

4 band

EQUALIZER

MIX or MTX 24

SOLO

TB to EXT

INS SEND

A or B

ENAB A/B

MON FADER

SOLO pre TRIM

AON

Source pre BLE ND

MON Delay

TB EXT

BUS 1 BUS 24IN

SOLO TRIM

BLEND

9..16 17..24

GUI IN Meter

GUI OUT Meter

1..8

MON_A LEFT

MNTR B

DIM

0..2000 mS

Logic

Delay

LR/

RR/

[+/-10 dB]

SOLO

Enable

IN/OUT

[-inf..-10 dB]

MASTER L

MASTER R

MASTER C

Left

65..72

(Based on Vi 6 Audio Block Diagram V0.748)

Vi 3000

9..16

33..40 41..48

1..8 17..24

MON_A RIGHT

MON_A CENTER

DIM

Delay

Right

Center

SEL

73..80 81..88 89..96

25..32

49..57 58..64

MON_B LEFT

Delay

SOLO

Enable

IN/OUT

Left

PHONES LEFT

MON_B RIGHT

DIM

Delay

LR/

RR/

SOLO

Enable

IN/OUT

sidetone

-15

Left

Center

Right

SEL

Audio Block Diagram

Regensdorf

Switzerland

1.0 19.05.14MUS

TIE LINE 24

PHONES RIGHT

DIM

Delay

LR/

RR/

Right

Center

SEL

AFL

PFL

Bundle

Follow/

FADER PAN

DELAY

LINK (ST)

Limiter

DYNAMIC

Compressor

INPUT CHANNELS / MATRIX MASTER / MIX / MONITORING

PROCESSING

PATCH PATCH

L A C O L

E N

I L

/ C

PAD

I M

DYN

EQUALIZER

4 band param

GATE/Dees

CUT

LOW

TRIM

PHASE

SEL

OSC

INP 1

INP 2

INS RET

16 16

P H B T B S U S E A

Channels per card

LEVEL

of same

Bay A/B

to CH Dyn

Dees

GUI

GATE

KEY

SFC

USB

TRIM

To MTX

GRM

SC/ES

SOLO

MONO INPUT

Dante or MADI (IN)

BUS FEED 1

CHANNEL 1 to 96

MIX BUS 1

slot

MTX 1

MTX 24

MTX 1

MTX 24

SEL

MTX

TB to BUS / MTX / EXT

OSC to TB

OSC

TB SEND

SEL

MON_A_Source

MONITOR_A

MATRIX

BUS FEED 24

MTX 1_SRC

MTX 16_SRC

OSC

TB_SRC

MIX BUS 24

TB_MIC

MON_A_Source

MON_B_Source

slot

LEX 1

MON_B_Source

MONITOR_B

TB RET

MON_HP_Source

TB from ext

LEX 2

LEX 3

LEX 4

MON_HP_Source

TB from ext

MONITOR_HP

SINUS

PINK NOISE

WHITE NOISE

OSCILLATOR

TIE LINE

OSC

CLOCK

48k

OUT

MIDI

4.3 INPUT CHANNEL > De Esser

2.1  2.1:Vi3000BlockDiagram

Vi3000 USER MANUAL

3.0 QUICK START

Quick Start Guide

This chapter is a pictorial guide through the main concepts and functionality of the Vi3000 console. Subsequent chapers go into these functions in more detail.

Console Sections

Vistonics II

3.0 - 1 3.0 QUICK START

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

3.0 QUICK START

Buttons And Encoders

Ganging

4.3 INPUT CHANNEL > De Esser

3.0 - 2 3.0 QUICK START

Vi3000 USER MANUAL

3.0 QUICK START

Inputs & Controls

Input Channel Access

3.0 - 3 3.0 QUICK START

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

3.0 QUICK START

Fader Pages

Output Assignment

4.3 INPUT CHANNEL > De Esser

3.0 - 4 3.0 QUICK START

Vi3000 USER MANUAL

3.0 QUICK START

Outputs & Control

3.0 - 5 3.0 QUICK START

Monitoring

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

3.0 QUICK START

4.3 INPUT CHANNEL > De Esser

3.0 - 6 3.0 QUICK START

Vi3000 USER MANUAL

3.0 QUICK START

Copy, Paste, Move, LIbrary

3.0 - 7 3.0 QUICK START

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

3.0 QUICK START

Snapshot & Cuelist

4.3 INPUT CHANNEL > De Esser

3.0 - 8 3.0 QUICK START

Main Menu System

Vi3000 USER MANUAL

3.0 QUICK START

Lexicon FX

3.0 - 9 3.0 QUICK START

Vi3000 USER MANUAL

4.1: Hardware > Local I/O

Hardware - Local I/O

Most of the Vi3000 local I/O is located on the rear panel of the console. The main I/O slots have a variety of possible

congurations, inlcuding digital (AES) and analogue input and output cards. However, the monitor / masters output section cannot be changed - this contains the xed-routing Monitor A and Monitor B outputs, plus the master LCR analogue outputs.

There are also user-congurable D21m I/O expansion slots that can accept any of the available Soundcraft D21m compatible I/O cards. Options for these include MADI (Optical or CAT 5), ADAT, Blu Link, Aviom, Ethersound, Cobranet, Line in, line out, AES/EBU, and mic in. The D21m IO Expansion slots are also used for connecting a Soundcraft Stagebox.

Fixed I/O on the rear panel includes all data/digital connections such as MIDI, USB, HiQnet, AES I/O, DANTE, MADI, Word Clock, and DVI Out, plus the dual redundant power supply connections.

There are also two 12v lamp connections.

The control surface of the console features two additional USB sockets and a talkback microphone XLR connection.

Main I/O Slots

The monitor / masters output section cannot be changed (bottom left of the main picture) as this contains the xed-routing Monitor A and Monitor B outputs, plus the master LCR analogue outputs.

The main local I/O slots.

Conguration options for the other slots are: 32 mic in/32 line outs, 48 mic in / 16 line out (the upper line out card is replaced by a mic in 33-48 card), 16 mic in / 16 in 16 out AES / 16 line out (the mic in 1-16 card is replaced by a blank, the upper line out module 1-16 is replaced by a 16 in 16 out AES module).

4.1 4.1: Hardware > Local I/O

PSU / Power Sockets

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

4.1: Hardware > Local I/O

There are two mains

inputs for seamless redundancy for those that require it. The IEC inlets can accept AC inputs from 100V to 240V.

Either socket can be used for a single supply. if both are used then one is a backup. The two sockets are labelled PSU1 and PSU2, corresponding to indicator lights on the Menu-System-Local page. The colour of this indicator, and the power button on front panel of the console, indicates the state of these PSUs: RED if only one of them is on, and GREEN if both are on.

Power Switches Inactive Active

There is a power switch for each of the power

supply inputs. Both

need to be on for the

dual redundancy switching to be effective.

Power off Power on

DVI (Digital Video) output

For future use.

MIDI In / Out

USB

HiQnet Interface

5-Pin DIN connectors for MIDI compatible equipment only.

The console USB connections ca be used for connecting an external keyboard or for USB storage devices.

XLR-housed EtherCon connector for HiQnet network connection.

For details on HiQnet setup, please refer to reference chapter 18.

4.3 INPUT CHANNEL > De Esser

4.1 4.1: Hardware > Local I/O

AES I/O

Vi3000 USER MANUAL

4.1: Hardware > Local I/O

DANTE

MADI I/O

2 x 3-pin XLR AES (twochanel) digital audio input and output.

Input and output

Interface ports for a

a DANTE (Audinate) digital audio network.

Input and output Interface ports for connection to/from MADI-compatible equipment.

4 channels of AES/EBU format outputs and 4 channels of inputs. AES 1-2 and 3-4 Input sockets have associated green condence LEDs that indicate a valid sync signal is

present.

Please note, the Vi 3000 MADI local MADI and DANTE ports share an input and so are exclusive. That is, you can choose either a local MADI or DANTE input. The outputs are 'parallel' and a work concurrently. The choice between the MADI and DANTE inputs is determined by the DANTE/MADI global switch in the Setting tab of the main menu - accessed with the [MENU] button.

Wordclock I/O

Outputs console wordclock or syncs to external wordclock at 48kHz.

Talkback Mic 48V Inactive Active

Switch to apply 48V

phantom power to the

talkback mix input on

the top panel of the console.

No Power

phantom powered

D21m Slots

These card slots can be used for any available D21m option cards of which there is a large range including

D21m Slots, labelled slots I, J, K, and L.

MADI (Cat 5 or Optical) Stagebox connection, ADAT (16ch single slot), Blu Link (32ch single slot), Aviom (16 ch single slot), Ethersound (64ch double slot), Cobranet (32ch single slot), Line in (8ch single slot), line out (8ch single slot), AES/EBU (16ch double slot), and mic in (4ch single slot).

4.1 4.1: Hardware > Local I/O

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

4.2: Hardware > DANTE / MADI Sources

DANTE / MADI Interface and switching notes

The Dante/MADI interface gives the Vi3000 a lot of exibility for recording shows, Virtual Soundchecking or interfacing with third party MADI or Dante-enabled equipment such as signal routers or system processors. The interface comprises an input (64ch) in each format and an output (64ch) in each format. The outputs are fed by a common signal source which is available to any channel or bus via the Dante/MADI buttons within the Local tab of the console’s output patching matrix. The patched signal is fed to both Dante and MADI outputs simultaneously. The inputs are selectable using a global switch in the Menu-Settings page of the console to choose either the Dante or the MADI port as the active input. Whichever of these is selected will appear in the Local tab of the input patch matrix in the console and will be labelled Dante or MADI as appropriate. Only one input can be used at a time.

Recording

64ch recording/replay is possible via the MADI interface using a third-party MADI interface such as RME MADIface, in most cases the recording software can be set to take its clock source from the console’s MADI stream. Alternatively the console’s Wordclock Out can be used to drive the recording software or router, or the console can be slaved to the other equipment’s clock via Wordclock In. Alternatively, 64ch recording/replay can be achieved via the Dante port, by simply installing a copy of the Dante Virtual Soundcard driver (DVS), available from the Audinate website. A free one-off license token is included with every Vi3000 console -see the documentation packaged with the console. The license token number is used on the Audinate website to enable the issuing of a license key code which is then entered into the DVS boot screen to unlock the software. Dante Virtual Soundcard is available in PC and Mac formats and allows the the standard ethernet port on the computer to become visible as a 64ch input/output low-latency audio interface from any audio recording or processing

software.

Interfacing to another Dante-enabled device or network

The Dante interface allows connection to any other Dante-enabled device, either directly or via a network switch, and using either normal or redundant connections depending on how the primary and secondary Dante ports of each device have been congured. Although the patching of signals to/from channels or busses in the console is done via the console’s patch matrix, the routing of those 64 in and out signals within the Dante network has to be set up using a free software application called Dante Controller, available from the Audinate website and running on either a PC or Mac external computer. Using this software it’s possible to make connections on an individual channel basis between the Vi3000’s 64ch Dante interface and all other Dante equipment on the network.

4.3 INPUT CHANNEL > De Esser

4.2 4.2: Hardware > DANTE / MADI Switching

Vi3000 USER MANUAL

4.2: Hardware > DANTE / MADI Sources

Syncing with Dante equipment

Detailed setup of Dante network is beyond the scope of this User Guide (see user-guide documentation for Dante Controller software for more details), but it important to understand the concept of synchronisation within a Dante network, even if there are only two devices in the network. In any audio network there must be one device acting as clock master, the others are then slaves. In the Dante network, this device is known as the Primary Master. There can also be secondary masters - these are devices that are normally slaves but will take over the role of Master clock should the designated Master fail or be disconnected from the network. The status Primary/Secondary Master/Slave must be set for each device, including for the Vi3000, using external Dante Controller software - it cannot be done from within the console’s software. (Note: The Vi3000’s Dante interface is set as factory default to act as Primary Master). The status of the Vi3000’s clock cong must be setup to work correctly with the Dante interface, depending on whether the console is acting as Master or Slave on the network:

Console acting as Primary Master Select INT 48kHz clock in Menu-Sync page of console. Check ‘Slave to ext

wordclock’ in Dante Controller software for Vi3000 Dante interface

Console acting as Slave on Dante network.

Select DANTE external clock in Menu-Sync page of console. Check ‘Slave to ext wordclock’ in Dante Controller software for Vi3000 Dante interface.

Note: The option ‘Slave to External Wordclock’ in Dante Controller software is confusingly named as far as Vi3000 is concerned, it actually refers to whether the Dante interface itself within the Vi3000 is locked to an ‘external’ clock - in this case meaning the INTERNAL w/clock of the Vi3000 itself. If the Slave to Ext Worclock box is NOT checked, then it means the Dante I/F will sync to network clock, ie the clock of the Primary Master.

See Chapter 16: Main Menu, Sync page for further info.

4.2 4.2: Hardware > DANTE / MADI Sources

Vi3000 USER MANUAL

5.0 Operations Overview

5.0: Operations Overview

5.0 5.0 Operations Overview

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

5.1 Operations Overview > Conventions

5.1: Conventions And Colours

This manual, and the console uses certain conventions to make things signicantly easier for the user. This includes the unique FaderGlow technology that can dynamically colour code console faders depending on their current assign-

ment.

Conventions used in this manual

Three types of brackets are used to indicate the type of control being refered to.

[ ] is used to indicate a panel-mounted key or encoder.

{ } is used to indicate a Vistonics™ (VST) key or encoder.

( ) is used to indicate a button on a touch-screen.

COLOURS

The following table shows colours used in the VISTONICS screens, and in the headers and footers of the pages in this

manual:

Audio Processing

Input Functions Blue

Equaliser Red

Filter Blue

Gate,Comp,Lim,De-

Green

VCA/MG Indication

VCA 1..8 Blue

VCA 9..16 Pink

Aux VCA Master 1..16 White

Mute Group Red

ess

Pan, Dir Out, Insert Yellow

Oscillator Gold

Monitoring Lilac

Patching & Misc

Input Patch Blue

Busses

Output Patch Red

Aux Orange

Audio Group Green

Matrix Cyan

4.3 INPUT CHANNEL > De Esser5.1 5.1 Operations Overview > Conventions

Vi3000 USER MANUAL

5.2 Operations Overview > Vistonics II

5.2: Visonics Overview

Vistonics II is a unique control and display technology derived from the Studer Vistonics technology and exclusive to Soundcraft. The Vi3000 uses Vistonics II as a core technology for console operation because of its signicant user-interface benets.

The Vistonics screens are divided into two main areas. The top section is the touch screen area and serves a number of functions. For instance, in the default input chanel mode, the input touch screens show the Input, EQ, Dynamics, Bus outputs, and panning sections of input channel strip. Touching one of these opens that channel section onto the

Vistonics VST area.

The VST area is the lower section of the Vistonics screens, each with two rows of eight VST Fields. Each VST Field contains an encoder, a button, and a display area. VST Fields are normally used for individual parameter control. For instance, the default input Vistonics screen uses the upper row of encoders to control a channel’s contribution level to the Aux 1 bus, and the upper row of buttons to turn those contributions on and off.

5.2 5.2 Operations Overview > Vistonics II

Buttons On/Off

Open Touch Page

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

If a function is assigned to a button it is displayed as shown. The 'active' state shows the button highlighted in a lighter colour.

If the button can open a conguration page in the Touch area it shows a '+' sign on the button. If the conguration page is already open, the button will be labelled with a '-' sign. Pressing the button in that state will exit the conguration page.

5.2 Operations Overview > Vistonics II

Inactive Fields

If an audio function block is disabled, with the background of the eld changed to grey, the button indication will change to a darker colour.

4.3 INPUT CHANNEL > De Esser5.2 5.2 Operations Overview > Vistonics II

Vi3000 USER MANUAL

5.3 Operations Overview > Console Bays

5.3: Console Bays

The Console is divided into four main bays. Counting from the left, the rst, second, and fourth bays are Input Bays. The third bay is the Master Bay.

Input bays normally control input channels, however, they can have other functions mapped to them depending on how the console is being used. For example, you can map the bus masters, graphic EQ bands, matrix mix sources, aux bus contribtions, and more to the input faders.

The input bay vistonics touch screen areas normally show eight channel-strip processing blocks for the eight corresponding faders. You can touch those processing blocks to focus the VST section (bottom part of screen populated with encoders and buttons) on that selection.

The input bay VST areas normally show Aux 1 and 2 contributions, though the functions of these encoders are also determined by the input channel VISTONICS button group.

The Master Bay contains asignable faders for the bus masters, plus the mix master (L, R, C) faders and the assignable monitor fader.

The Master Bay touch screen default display is an overview of metering for all input and output channels, as well as an as system message area and cue list.

The Master Bay VST area’s default mapping is the rst 16 bus masters. The next eight masters can be accessed with the [PAGE 2] button in the Master Bay VISTONICS button group.

5.3 5.3 Operations Overview > Console Bays

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

5.3 Operations Overview > Console Bays

5.3: Console Bays - Input Bay 3 Navigation

The Master Bay touch screen meters can be used as a navigation device - simply touch a block of eight meters and those channels (both inputs and outputs) are mapped to the right-hand input bay. This is excellent for fast access and for dual operator scenarios.

4.3 INPUT CHANNEL > De Esser5.3 5.3 Operations Overview > Console Bays

Vi3000 USER MANUAL

5.4 Operations Overview > FaderGlow™

5.4: FaderGlow™

Soundcraft FaderGlow™ (Pat. Pend.) is a unique feature that gives the user an additional level of status indication, and can signicantly reduce operating errors.

On the console, several different functions can be assigned to a particular fader, it can therefore be easy to forget which function is currently being controlled, especially when grabbing a fader in a hurry. The main principle of FaderGlow is therefore to indicate the actual function type that is currently assigned to a particular fader. Soundcraft FaderGlow is tted to all 32 Faders that can change their function.

FADER OPERATION Soundcraft FaderGlow™ COLOUR

Channel level NONE

AUX send level ORANGE

GRP (fader closed) GREEN

MTX contribution level CYAN

VCA Master 1..8 BLUE

VCA Master 9..16 PINK

Aux VCA Master 1..16 WHITE

5.4 5.4 Operations Overview > FaderGlow™

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

5.5 Operations Overview > Buttons

5.4: Buttons

There are a wide variety of button groups on the Vi3000. Below are described all button groups and selected individual buttons. Please refer to the relevant reference section for detailed information on the operation of all buttons.

Most buttons on the console can be latching (stay on) or Momentary (on when pressed, off when you let go) If you hold a button down it will have a momentary action. If you press a button and let go within half a second it will ‘latch’.

System Button Group

[MUTE ALL O/P] (Mute All Outputs) and [POWER ON] buttons.

Edit Button Group

[COPY], [PASTE], and [UNDO] buttons.

These are used for copying and pasting whole channels, processing blocks, and individual parameters either elsewhere on the console or to and from the console’s powerful library system. For more information see the Edit System reference chapter 13.

4.3 INPUT CHANNEL > De Esser5.5 5.5 Operations Overview > Buttons

Vi3000 USER MANUAL

5.5 Operations Overview > Buttons

Input Channel VISTONICS Group

The input channel VISTONICS control buttons provide convenient ways of assigning bus master functions to the input channel VST encoders, such as selections for individual bus ‘tap’ points, and getting the input bus contribution shown on the VST screen to follow the master bus selection in the Master Bay.

For more information, see the Inputs reference chapter 6.

Output Vistonics Group

These buttons provide control over the VST section functionality of the Master Bay vistonics screens. For example, the [PAGE A] and [PAGE B] buttons switch the encoder section of the screen between busses 1-16 and 17-24. For More information, see Outputs Reference chapter 7.

Encoder Mode Buttons

These buttons assign various functions to the input channel strip encoders. For more information see the Inputs reference chapter 6.

Mute & VCA Groups

Control and assign the four mute groups and available 16 VCAs. For more information see the Mute & VCA Groups reference chapter 9.

5.5 5.5 Operations Overview > Buttons

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

5.5 Operations Overview > Buttons

Input Fader Pages

These buttons control navigation through ve basic input channel Pages/Layers, including the ‘All Busses’ view, plus ve user-denable pages. These buttons only affect the three input channel bays. For more information see the Input Channels reference chapter 6.

Output Fader Pages

Navigate through eight-wide pages of the console’s output busses and VCA masters. These buttons only affect the Master Bay channel strips. For More information see the Output Channels reference chapter 7.

Next & Last

[NEXT] and [LAST] buttons for moving through the loaded Cuelist. These buttons have to be enabled in the Settings page of the main Menu. For more information see the Snapshots, Cuelist, and Global Filter reference chapter 14.

Snapshot Control

Full control over Snapshot and Cuelist storage, navigation, and recall. For more information see the Snapshots, Cuelist, and Global Filter reference chapter 14.

Talkback & Oscillator

Most of these buttons are dedicated to activating preset Talkback routings. To access Oscillator functions, use the [SETUP] button. For more information see the Talkback And Oscillsotr refence chapter 15.

4.3 INPUT CHANNEL > De Esser5.5 5.5 Operations Overview > Buttons

Vi3000 USER MANUAL

5.5 Operations Overview > Buttons

[SETUP] Buttons Field / Group: Active

[SETUP] buttons open

the relevant setup screen in the Master

Bay Vistonics screen.

While a setup screen is active, pressing the [SETUP]

button again will close that setup screen. For more information see the chapter relevant to each [SETUP] button.

Show Setup

screen

[SOLO/SEL] Buttons Field / Group: Inactive Active

The [SOLO/SEL] keys operate in two modes. The default function is to enable the SOLO path from its channel or bus to the monitoring system. However, if a touch-area

Solo or select a channel.

page is open, pressing a [SOLO/SEL] from another channel (within its own bay of eight channels) moves the touch-area page to this new channel. [SOLO/SEL] buttons also perform other selection functions depending on the console mode. These are described in the relevant reference chapter.

Normal

Soloed/Se-

lected

[GANG] Buttons Field / Group: Inactive Active

Special Ganging functionality.

For linking channels, processing blocks, and parameters, for convenient control. See the Gang section in this operations overview chapter for more information.

Normal Gang Mode

[SOLO CLEAR] Button Field / Group: Active

Clear any currently

active console Solos.

Clear

5.5 5.5 Operations Overview > Buttons

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

5.5 Operations Overview > Buttons

Lower [FLW] Button Field / Group: Inactive Active

The fader FOLLOW OUTPUT SOLO [FLW] button located near the bottom of the Master Bay buttons strip causes the input faders to become contributions to an output bus when its [SOLO/SEL] button is pressed (often known as ‘Sends on Faders mode’).

If a Matrix Output Solo/Sel is pressed, regardless of the

Input faders follow master bus selection.

setting of Follow Solo modes, the Output Solo will be activated, the EQ/Dyn/Misc touch screen for the Matrix Output displayed, and the channel faders will be assigned to the contribution levels from the Outputs to the

Soloed Matrix Output.

Note: the lower [FLW] key has an additional function in allowing VCAs to control the Aux sends of input channels. See the Mute & VCA reference chapter 9 for

details.

Follow Mode Normal

Main Menu Button Field / Group: Inactive Active

Brings up the Main Menu screen in the

Master Bay.

Settings and preferences for a variety console functions are arranged in tabbed pages in the main menu. For more information, see the Main Menu reference chapter

16.

Normal

Main Menu

Active

Input Priority Field / Group: Inactive Active

Allow an Output Solo to remain active, whilst an

Input Solo is temporarily activated ‘over the top’ of it.

For more information see the SOLO System reference

chapter 8.

Normal

Main Menu

Active

Lock Meters Field / Group: Inactive Active

Locks the Meter section

of the Master Bay touch

screen onto the screen.

The meter section will be safe from output selections bringing the channel up on the touchscreen, for example. [SETUP] buttons still takeover the screen though.

Normal

Meters

Locked

4.3 INPUT CHANNEL > De Esser5.5 5.5 Operations Overview > Buttons

Vi3000 USER MANUAL

5.6 Operations Overview > Encoders

5.6: Encoders

Each input channel strip contains three encoders: encoder 1 and encoder 2 are located in the VST elds in the lower screen area, while the channel encoder is located at the top of the fader area, and has an LED ring to indicate its parameter state. Each of these encoders can control different parameters, depending on the settings of other parts of

the console.

The master section has 16 VST encoders and 4 panel-mounted encoders with LED rings: the TB/OSC Level Control

encoder, and the Sold Blend, Solo Trim & Phones Volume encoders. These last four are dedicated to their respective functions.

Channel encoders always control a parameter on their own channel strip. The function of the channel encoders can be globally selected via the [INPUT GAIN], [GATE THRS] and [PAN] keys on the Encoder Mode panel. See the Inputs reference chapter 5 for more information.

The VST Input Bay encoders default to Aux 1 and 2, though can be assigned a variety of functions depending on the console mode. If any touch eld is activated, the 16 VST encoders are assigned with expanded channel function parameters. See the Inputs reference chapter 5 for more information.

The default setting for the Master VST encoders is as the output level controls for Master Outputs 1-16. This can also be selected by pressing the [PAGE A] key on the Master Vistonics Mode Panel. Pressing [PAGE B] will cause the Master VST encoders to be assigned as the output level controls for Master Outputs 17-24.

The Master VST encoders can also be assigned to Master Output Expanded Functions (e.g. EQ, Dynamics, etc.). When a Master Output [SOLO/SEL] key is touched, it opens the Processing Area in the Master VST screen. If then a paticular touch-area is touched, the VST encoders are assigned to appropriate expanded functions. For more information see Outputs reference chapter 6.

5.6 5.6 Operations Overview > Encoders

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

5.7 Operations Overview > Gangs

5.7: Gangs

Gang is a very helpful feature to speed up operations that inuence functions on multiple input channels, or on output busses, in the same way. Any parameter change on ganged channels will be applied to all other ganged channels as an offset. For example, adding 4dB of level to an aux send on one channel will add 4dB of level to the the corresponding Aux sends on all other ganged chanels - it will not ‘copy’ the actual level to the other ganged channels.

Button presses will change any corresponding buttons in ganged channels that are not currently in the new state, to the new state. From that point on, further presses will result in all switches changing state together.

Gang mode is activated and deactivated with the [GANG] button. You add or remove channels to or from the gang with the channel [SOLO/SEL] buttons.

Entering Gang Mode does not cancel any solos of any type that are active at the time. The Solo system continues to work as it was when Gang Mode was switched ON. The amber ‘Solo’ illumination of the Solo/Sel switches cannot be

seen whilst gang mode is ON.

Gang Button Field / Group: Inactive Active

After activating Gang Mode, hold the [GANG] button

Activate or deactivate Gang Mode.

down to Gang all channels.

You can leave Gang Mode pressing the [Gang] button. If you haven’t ‘cleared down’ the gang then it will be restored the next time you re-enter Gang Mode.

Normal Gang Select

Select (Gang) Field / Group: Active

When in Gang Mode you can add single channels by pressing individual channels' [SOLO/SEL] buttons OR you can add a range of channels by pressing the rst and last channels' [SOLO/SEL] buttons together.

Select and deselect ganged channels.

Press & Hold any [SOLO/SEL] button to clear down the entire gang (recommended after use to avoid accidental operation of Gang mode).

When in a gang, a channel’s [SOLO/SEL] button will glow blue.

Select

Channel

4.3 INPUT CHANNEL > De Esser5.7 5.7 Operations Overview > Gangs

Vi3000 USER MANUAL

5.8 Operations Overview > Labelling

5.8: Labelling

The console labelling system is displayed on a touch-screen area whenever the labelling of a channel, output, cue, le, or other named parameter or item is required. For example, you can label an input channel by touching the channel’s input area on the touch screen then pressing the {CH LABEL} button in the VST area.

Labelling can be done with the displayed on-screen keyboard or an external USB keyboard. The on-screen keyboard is context sensitive and shows only the allowed character and symbols.

Long Labels can contain up to 10 characters and short labels can contain up to six characters.

5.8 5.8 Operations Overview > Labelling

Vi3000 USER MANUAL

6.0: INPUTS

6: Input Channels

Bays 1, 2, and 4 of the console (Input Bays 1, 2, and 3) are normally dedicated to controlling input channels. However, other functions can be mapped to these channels, such as the Master Busses, Matrix feeds, Graphic EQ, and so on.

There are four main input channel control areas on the console:

• The main channel strips, including the Vistonics screen sections, are for control of input chanel parameters, routing, and patching.

• The INPUT FADER PAGES buttons are for navigating the available input channels by choosing preset and user-

denable fader pages.

• The input channel VISTONICS control buttons provide convenient ways of assigning bus master functions to the input channel VST encoders.

• The ENCODER MODE buttons provide fast switching of the channel strip encoder functions.

6.0 6.0: INPUTS

Vi3000 USER MANUAL

6.1: INPUT CHANNEL > FADER PAGES

Navigating The Input Channels - Input Fader Pages

This section is used for navigating Fader Pages (or layers). There are four main layers of 24 input channel strips, and

a further ve user-denable layers available. The [ALL BUSSES] button maps the output busses to the input channel

strips, as described further in the Outputs reference section.

In addition, you can touch the input meter elds in the Master Bay Vistonics to remap those input channels to the right-

most input bay.

6.1 6.1: INPUT CHANNEL > FADER PAGES

Vi3000 USER MANUAL

6.1: INPUT CHANNEL > FADER PAGES

Fixed Fader Layers

User Fader Layers

All Busses Mode

Field / Group: INPUT FADER PAGES Active

Select four pages/layers of input channel strips.

Field / Group: INPUT FADER PAGES Active

User-Dened input

channel strip pages/ layers

Field / Group: INPUT FADER PAGES Active

Map the 24 output busses to the input bay fader strips.

Each button maps Pages of 24 channels to the three in-

put bays, so [A] is channels 1-24; [B] is channels 25-48; [C] is channels 49-64; and [D] is channels 65-96.

Select one of these buttons to map that user-dened fader-layer to the console. The User layers are dened by pressing the FADER PAGES [SETUP] button.

See Outputs Reference section 7 for more detail on All Busses mode.

Select

6.1 I6.1: INPUT CHANNEL > FADER PAGES

Vi3000 USER MANUAL

6.2: INPUT CHANNEL > CHANNEL STRIP

The Input Channel Strip

Input Channel Strip Encoder Field / Group: Range Low Range High

Rotary control whose

function is dened by

the input ENCODER MODE buttons.

The Default function is control over the channel’s analogue input gain. For more information see the Inputs Encoder Mode reference section 6.3

Dependant

on Mode

Dependant on

Mode

Input Channel Strip F Field / Group:

Reserved for future software updates

6.2 6.2: INPUT CHANNEL > CHANNEL STRIP

Vi3000 USER MANUAL

6.2: INPUT CHANNEL > CHANNEL STRIP

Input Isolate Field / Group: Active

Used to isolate the channel (and selections) from snapshot recall and (when Global Filtering is active) from

Show le loads.

See the Snapshot and Global Filtering reference section 14 for more information.

Isolate

Level and GR Meter Field / Group:

Level and gain reduction metering for the input channel.

See the metering reference section 12 for more information.

Input Channel Label Field / Group:

Displays the short label/ name of this channel.

The long and short channel labels are set in the channel's 'Input' Vistonics parameter block. See reference

section 6.5.1 for more information.

'Pre' Indicator Field / Group:

Reserved For Future Use.

Channel ON/ OFF Field / Group: Inactive Active

Channel [ON]/OFF button. 'OFF' is effectively a mute control.

The button glows green when the channel is 'On'. If the channel is off there is no glow colour. However, if the channel is muted because a mute group has been

activated, the [ON] button will glow red.

Channel Off Channel On

Mute Safe Indicator Field / Group:

Glows red when Mute Safe is active for this channel.

When the Mute Safe system is enabled (in Monitoring

section [SETUP]), then the channel strip SOLO/SEL

button activates the Mute Safe status for the channel.

6.2 6.2: INPUT CHANNEL > CHANNEL STRIP

Mute/VCA Group Indicators Field / Group:

Vi3000 USER MANUAL

6.2: INPUT CHANNEL > CHANNEL STRIP

Shows the Mute or VCA Groups that is channel belongs to.

Channel Fader Field / Group:

Control the channel output level.

FaderGlow Field / Group:

The channel fader is colour-coded depending on its function.

The actual target of these LEDs (Mutes, VCAs 1-8, or VCAs 9-16) is determined by the DISPLAY buttons in the

MUTE & VCA GROUPS button group. See the Mute &

VCA Groups reference section 9 for more information.

The input channel faders can also be assigned to follow the bus master selection in the Master Bay with the fader

[FLW] button and become level controls for contributions

to that bus.

Input channel levels are not colour-coded. The other

FaderGlow colours are Aux Sends: ORANGE; Groups: GREEN; Matrix Contribution: CYAN; VCA Master 1-8: BLUE; VCA Master 9-16: PINK.

Solo / Select Field / Group: Active

If a touch-panel screen is open for the for another chan-

Default is the channel Solo function (listen to this channel only on the monitor bus).

nel in the same bay, the [SOLO/SEL] button moves the

touch screen to this channel. The button has other functions in other console modes such as selecting channel for a Copy or Paste edit function. Other functions for the [SOLO/SEL] button are detailed in the appropriate reference sections. For more on the console Solo System see reference section 11 for more information.

Solo Enable

or Select

6.2 6.2: INPUT CHANNEL > CHANNEL STRIP

Vi3000 USER MANUAL

6.3: INPUT CHANNEL > ENCODER MODE

Input Encoder Mode

These buttons determine the function of the input channel encoder at the top of the main channel strip.

If [ALL BUSSES] is active or a Matrix output is soloed, the channel encoders are disabled and have no function (the

previous function is remembered however).

Mode: Input Gain Field / Group: Active

(Default) Switch the input Encoders to control analogue input gain.

Mode: Gate Threshold Field / Group: Active

Switch the input Encoders to control Gate Threshold.

Select Mode

Mode: Pan Field / Group: Active

Switch the input Encoders to control Pan.

Select Mode

6.3 6.3: INPUT CHANNEL > ENCODER MODE

Vi3000 USER MANUAL

6.3: INPUT CHANNEL > ENCODER MODE

Setup Field / Group:

Reserved for future software upgrade.

Mode: User 1 Field / Group: Active

Switch the input Encoders to control Compressor Threshold.

Select Mode

Mode: User 2 Field / Group: Active

Switch the input Encoders to control Digital Trim.

Select Mode

6.3 6.3: INPUT CHANNEL > ENCODER MODE

Vi3000 USER MANUAL

6.4: INPUT CHANNEL > VST CONTROL

Input VISTONICS Buttons (VST Section Control)

These buttons control the functionality of the input channel VST encoders.

You can easiliy and rapidly assign bus contributions and bus panning to the encoders using this button group.

Pre/Post Field / Group: Active

Congure Aux sends

from channels (when they are assigned to the two VST encoder rows), as pre or post-fader.

VST Mode: Pan Field / Group: Active

If a stereo Aux is assigned to a VST encoder row, and

if the [PAN] key is active, the encoder will control the

Activate aux paning for encoders where applicable.

Aux Pan rather than the contribution level. If both Auxes assigned to Row 1 & 2 are Stereo Auxes, both Rows 1 and 2 will change to the PAN function across the desk. If only one of the two rows is a Stereo Aux, then only this row will change to PAN. If neither row has a Stereo Aux

assigned, the [PAN] switch will have no function.

Activate

Mode

Fast Assign Field / Group: Active

Provides a very fast way to temporarily assign a bus function to a VST encoder row.

Press and hold one of the [FAST ASSN] keys, then press one of the Output Masters’ [SOLO/SEL] keys.The rele-

vant row of VST encoders will now be assigned to that

Output master, and the [FAST ASSN] key in question will illuminate. There will be no inuence on audio, the

Output solo is not activated.

Activate

Mode

6.4 6.4: INPUT CHANNEL > VST CONTROL

Vi3000 USER MANUAL

6.4: INPUT CHANNEL > VST CONTROL

Ecoders Follow Masters Field / Group: Inactive Active

Activate the FOLLOW SOLO function for the respective VST encoder rows.

Pressing a bus master [SOLO/SEL] button will automatically assign the soloed bus master to this row, overriding

the default or the [USER] layer. Note that only one [FLW]

can be active at a time.

Activate

Mode

VST Mode: USER Field / Group: Inactive Active

Assign the two VST Encoder rows as AUX 3 and AUX 4 send level controls for their input channels.

Activate

Mode

Input VST setup Field / Group: Inactive Active

Reserved for future use.

Activate

Mode

6.4 6.4: INPUT CHANNEL > VST CONTROL

Vi3000 USER MANUAL

6.5.1: INPUT CHANNEL > INPUT

Input Touch Screen Audio Blocks - INPUT

A mono input channel’s input section touch screen area is at the top of the Vistonics input channel strip area, colour-coded blue. The input section consists of that channel’s input source selection, pre-amp and gain stages control, channel pairing selection for stereo (and other format) channel creation, channel labelling, and channel delay adjustment.

6.5.1 6.5.1: INPUT CHANNEL > INPUT

Vi3000 USER MANUAL

6.5.1: INPUT CHANNEL > INPUT

Channel Input Select Field / Group: INPUT Range Low Range High

Select either Input 1 or Input 2 as the channel input.

The two physical channel inputs are assigned in the IN1

PATCH and IN2 PATCH elds.

IN 1 IN 2

Oscillator Input Select Field / Group: INPUT Inactive Active

Assign the console's central oscillator to the input of this channel.

When OSC is active, the normal input selections are disabled and the corresponding input touch eld is highlighted in orange.

off on

Input Gain Field / Group: GAIN Range Low Range High

Adjust the analogue input gain.

This is an analogue gain stage, before analogue-to-digital conversion.

+10dB +65dB

Input Pad Field / Group: GAIN Inactive Active

Reduce the input sensitivity by 20dB.

When the Pad is active, the PAD text in the input touch

eld is highlighted in blue.

0dB -20dB

Input Trim Field / Group: TRIM Range Low Range High

Adjust the digital input gain.

This is the post analogue-to-digital conversion gain, in the digital domain.

-36dB +15dB

Analogue Lo

Cut lter Field / Group: TRIM Inactive Active

Insert the analogue (pre AD converter) low cut

lter (only analogue

inputs).

When the analogue LO Cut lter is engaged, the LO Cut symbol in the input touch eld is highlighted in blue. This lter affects analogue inputs only.

Out In

6.5.1 6.5.1: INPUT CHANNEL > INPUT

Vi3000 USER MANUAL

6.5.1: INPUT CHANNEL > INPUT

LO CUT Cut-Off Frequency Field / Group: LO CUT Range Low Range High

Adjusts the LO CUT cut-

off frequency

This is part of the digital (post AD) LO CUT / HIGH CUT

section and affects all inputs. The affected frequency

range is shown graphically in the EQ section of the touch screen.

20Hz 600Hz

LO CUT IN Field / Group: LO CUT Range Low Range High

Switch the digital LO

CUT lter in and out

When the digital LO CUT lter is switched in, the LO

CUT indicator above the response graph in the EQ touch section is highlighted in blue.

Out In

HI CUT Cut-Off Frequency Field / Group: HI CUT Range Low Range High

Adjusts the HI CUT lter cut-off frequency.

This is part of the digital (post AD) LO CUT / HIGH CUT

section and affects all inputs. The affected frequency

range is shown graphically in the EQ section of the touch screen.

1kHz 20kHz

HI CUT IN/OUT Field / Group: HI CUT Range Low Range High

When the digital HI CUT lter is switched in, the HI CUT

indicator above the response graph in the EQ section of the touch screen is highlighted in blue.

The touch screen will show pairing candidate options for the channel - these will be consecutive channel numbers (horizontal neighbours) and the corresponding channels on higher and lower layers (vertical neighbours). All channel parameters will be copied to the selected

pairing candidate and the pairing FORMAT eld will be

displayed.

The choices are LR, RL, LL, RR, MONO. If the channel

is not paired, the FORMAT eld will not be displayed.

OUT IN

No Selection

LR MONO

Channel

Selection

Channel Pairing Selection

Pairing Format Selection

Switch the digital HI

CUT lter in and out

Field / Group: PAIRING Inactive Active

Activate channel pairing selection on touch screen.

Field / Group: FORMAT Range Low Range High

Adjusts stereo format of paired channels.

6.5.1 6.5.1: INPUT CHANNEL > INPUT

Vi3000 USER MANUAL

6.5.1: INPUT CHANNEL > INPUT

Phantom Power

Field / Group: PHANTOM Inactive Active

Apply Phantom Power

(+ 48V) to XLR patched

to this input.

When phantom power is applied to this channel's input, the '48V' indicated (touch screen input section) is highlighted in red.

Off 48V

Phase Invert Field / Group: PHASE Inactive Active

Input Patch

Invert the phase of audio through this channel.

Field / Group: IN1 PATCH / IN 2 PATCH Inactive Active

Activate input patching selection on touch screen.

When phase invert is active, the phase symbol in the input section of the touch screen is highlighted blue.

The input patch selection screen will give you access to all available inputs / sources, both external (local I/O, Stage Box, MADI, and so on) and internal (Lexicon effects). If an input channel is paired, you will also have to option to select L or R assignment from the same

screen. The IN 1 and IN 2 eld text areas will show the

selected source.

Off 180 degrees

Inactive

Selection

active

Channel Label

Field / Group: CH LABEL Inactive Active

Activate channel labeling functionality on main touch screen.

Thsi control brings up the standard ASCII keyboard display and colour selector in order to label the channel.

You can specify short and long channel names, and a label colour. You can also use a connected USB keyboard

if available.

Inactive Active

Delay Fine Adjust Field / Group: DLY FIN Range Low Range High

Fine adjustment of the channel delay time.

Adjusts overall delay time in small steps. The delay units (feet, meters, seconds etc) of adjustment can be

changed in the main Settings screen, via the [MENU]

button.

0 Seconds

Delay Adjust Field / Group: DLY Range Low Range HIgh

Adjustment of the channel delay time.

Adjusts overall delaytime. The delay units (feet, meters, seconds etc) can be changed in the main Settings

screen, via the [MENU] button.

0 Seconds MONO

Delay In / Out Field / Group: DLY Range Low Range High

Activates the delay for this channel.

When the channel delay is active, the 'DLY' indicator in

the touch screen input area is highlighted blue.

Out In

6.5.1 6.5.1: INPUT CHANNEL > INPUT

Vi3000 USER MANUAL

6.5.2: INPUT CHANNEL > EQ

Input Touch Screen Audio Blocks - EQ

A mono input channel’s parametric EQ section touch screen area is near the top of the Vistonics input channel strip area, colour-coded red. The EQ section consists of four parametric bands with shelving response available to the LF and HF bands..

6.5.2 6.5.2: INPUT CHANNEL > EQ

Vi3000 USER MANUAL

6.5.2: INPUT CHANNEL > INPUT

Frequency Control Field / Group: FREQ Range Low Range High

Adjust the centre

frequency (band pass) or cut-off frequency

(shelving) of the EQ.

All changes are reected in the graphic Vistonics touch

screen EQ section. Any band currently being adjusted is shown highlighted in white. All four bands feature full-

range frequncy control.

20Hz 20kHz

EQ Bandwidth / Q Control Field / Group: BwOct Range Low Range High

Shelf Select

Adjust the bandwidth or Q (inverse) of the

current lter.

Field / Group: BwOct/Q Inactive Active

Choose a shelving

response for the lter.

You can chose whether the adjustment unit is Bandwidth or Q via the main settings screen by hitting the [menu]

button.

The shelf response is available to the high (HF) and low (LF) EQ bands.

0.3Q/0.2oct 8.7Q/4oct

Bell Shelf

Gain Control Field / Group: GAIN Range Low Range High

Adjust the gain applied

to the dened lter

band.

-18dB +18dB

EQ Band In Field / Group: GAIN Inactive Active

Switch the selected EQ

band into the Equaliser

signal path.

Please note, there is also an EQUALISER IN button to

switch the equaliser section into the channel signal path.

Out In

Flatten All Field / Group: Active

EQ In

Flatten settings for the

whole equaliser section.

Field / Group: EQUALISER Inactive Active

Switch the whole equaliser section into and out of the channel signal path.

Respects in/out settings on individual bands. When the

Equaliser section is 'In' the EQ graphic on the Vistonics

input channel touch screen area will be highlighted in red.

Out In

Flatten

6.5.2 6.5.2: INPUT CHANNEL > INPUT

Vi3000 USER MANUAL

6.5.3: INPUT CHANNEL > DYNAMICS

Input Touch Screen Audio Blocks - Dynamics

The dynamics section has three main components - The rst can either be a GATE or DeEsser section; the other two

are a COMPRESSOR and a LIMITER. All three sections can be turned on or off independently.

The dynamics section of the Vistonics touch screen shows gain reduction as a compression transform, and Gate/ DeEss selection. It also shows either the Gate status, or a gain reduction meter, depending on the Gate / DeEss selection.

6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

6.5.3: INPUT CHANNEL > DYNAMICS

Gate

A gate is a threshold driven gain reduction process normally used to reduce the level of, or silence, a signal when it falls below the threshold. The gate section includes an assignable side-chain input with lters, a key signal solo function, and a ducking mode.

Gate / DeEsser Selection Field / Group: MODE Range Low Range High

Select either the GATE or DeEsser function

for the rst dynamics

process.

Gate Threshold Set Field / Group: GATE Range Low Range High

The top line of dynamics controls adapt to this selection. Gate DeEsser

Adjust the gate threshold level.

-40dB +18dB

Gate In Field / Group: GATE Inactive Active

Include the Gate in the dynamics signal path.

When Gate In is selected, the word 'GATE' is highlighted in the touch screen dynamics section.

Out In

Gate Attack Time Field / Group: ATCK Range Low Range High

Adjust the attack time of the Gate.

10uS 957mS

Gate Duck Function Field / Group: ATCK Inactive Active

Select the Gate DUCK

mode.

DUCK mode in inverse gate mode which reduces level

when the side chain input EXCEEDS the threshold. This can be used for 'ducking' a music bed under a DJ vocal, for instance.

Off On

Gate HOLD function Field / Group: HOLD Range Low Range High

Adjust the Gate Hold Tim

This is the time an activated gate will remain fully closed, before entering the 'release' phase.

2.2 mS 2 seconds

6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > GATE

Vi3000 USER MANUAL

6.5.3: INPUT CHANNEL > DYNAMICS

Gate Release Time Field / Group: REL Range Low Range High

Adjust the Gate Release Time

This is the time an activated gate will will take to open, from its 'hold' state.

2.2 mS 3.7 Sec

Gate Range Field / Group: RNG Range Low Range High

Adjust the Gate Range.

This is the difference between the nomral signal level and the gated signal level.

-60dB 0dB

Gate Side Chain Solo Field / Group: RNG Inactive Active

Switches the Gate Side Chain signal to the Solo buss.

For monitoring the signal being used as the gate 'key' (The signal used for testing gate threshold).

Off Solo

Lo Cut Frequency Field / Group: LO CUT Range Low Range High

Adjust the cut-off

frequency of the gate sidechain lo-cut lter.

Together with the gate hi-cut lter, this creates a bandpass lter for side chain control of the gate.

20Hz 20kHz

Sidechain Filter In Field / Group: LO CUT Inactive Active

Inserts the gate Hi and

Lo Cut side chain lters

into the side chain singal path.

Together the gate lo-cut and high-cut side chain lters, create a band-pass lter for side chain control of the

gate.

Out In

Gate Hi Cut Filter Field / Group: Hi CUT Range Low Range High

Adjust the cut-off

frequency of the gate sidechain hi-cut lter.

Together with the gate lo-cut lter, this creates a bandpass lter for side chain control of the gate.

20Hz 20kHz

Gate External Key In Field / Group: HI CUT Inactive Active

Swtiches the sidechain key signal from the main channel signal, to an external signal.

Assign the key input patch with the key assign button in

the MODE eld.

Out In

6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > GATE

Vi3000 USER MANUAL

6.5.3: INPUT CHANNEL > DYNAMICS

External Key Assign Field / Group: MODE Inactive Active

Activate the External

Key Assign screen in

the main Vistonics touch sreen panel.

All external I/O options for the external key become available for selection.

+ -

DE-ESS Function

The de-esser is a dynamically controlled lter normally used to reduce the sibilance (‘sss’ components) in a singer’s voice. If the de-esser is active, the signal level will be reduced only in the band set by the lters, when the signal in this band exceeds the required threshold.

De-Esser Sensitivity Field / Group: SENS Range Low Range High

Adjust the sensitivty of the De-esser process.

0% 100%

De-Esser In Field / Group: DEES Inactive Active

Activates the De-esser process

Out In

De-Esser Range Field / Group: RNG Range Low Range High

Adjusts the De-esser attenuation.

The maximum amount by which the signal in the 'Ess' band is attenuated when the DeEsser is activated.

-18dB 0dB

Ess Band Solo Field / Group: RNG Inactive Active

Solo the De-esser

dynamic lter.

Helps pinpoint the 'Ess band' most suited to the current signal.

Off Solo

De-Ess Filter Frequency Field / Group: FREQ Range Low Range High

Adjust the centre

frequency of the De-ess dynamic lter.

20Hz 20kHz

6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > DE ESS

Vi3000 USER MANUAL

6.5.3: INPUT CHANNEL > DYNAMICS

De-Ess Filter Bandwidth Field / Group: BwOct Range Low Range High

Adjust the bandwidth or Q of the De-esser

dynamics lter

You can set the unit of adjustment (octave bandwidth or Q) in the main Settings screen, activated with the [menu]

button.

0.2oct / 0.3Q 4oct / 8.7Q

Compressor / Limiter

A compressor is a threshold driven process used to reduce the dynamic range of a signal by applying gain reduction when the signal level exceeds the threshold and applying ‘make-up gain’ to keep the overall level consistent. The compressor includes an automatic make-up gain function.

A Limiter is a dynamics process used to limit peak signal level by reducing signal level as it approaches or exceeds the threshold.

Compressor Threshold Field / Group: CMP Range Low Range High

Adjust the threshold of the compressor

Compressor In Field / Group: CMP Inactive Active

Activate the compressor process.

When the signal exceeds the threshold, it will be attenuated according to the compression settings.

The the compression process is activated, the compression trnasform graphic in the dynamics touch screen area will be highlighted in green.

-40dB +18dB

Out In

Compressor Attack Field / Group: ATCK Range Low Range High

Adjust the compressor attack time.

The time it takes for the compression function to reach full attenuation after the threshold has been reached. The slower the attack time, the 'softer' the compression.

0.5mS 98.6mS

Compressor Release Time Field / Group: REL Range Low Range High

Adjust the compressor release time.

The time it takes for the compression function to return to zero attentuation after full attentuation has been reached.

5.5mS 5 Sec

Compressor Release Time Field / Group: REL Range Low Range High

Adjust the compressor release time.

The time it takes for the compression function to return to zero attentuation after full attentuation has been reached.

5.5mS 5 Sec

6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > DE ESS - COMPRESSOR

Vi3000 USER MANUAL

6.5.3: INPUT CHANNEL > DYNAMICS

Compression Ratio Field / Group: RTIO Range Low Range High

Adjust the compression ratio.

The ratio between the normal signal level and the attenuated (compressed) signal level. The higher the ratio, the more compression is applied.

1 20

Compressor Makeup Gain Field / Group: MKUP Range Low Range High

Adjust the post-compression makeup gain.

Gain applied after the compresssor to account for level lost in compression.

-20dB +20dB

Compressor Automatic Makeup Gain Field / Group: MKUP Inactive Active

Activate automatic makeup gain.

When activated, this will apply makeup gain after the compressor automatically, depending on the settings of the Threshold and Ratio controls.

Off On

Limiter threshold Field / Group: LIM Range Low Range High

Adjust Limiter threshold. Threshold at which the limiter is activated. -40dB -6dB

Limiter In Field / Group: LIM Inactive Active

Activate Limiter Include the Limter in the dynamics section. Out In

Limiter Attack Time Field / Group: ATCK Range Low Range High

Adjust the Limiter attack time.

The time taken for the limiter to reach full attentuation. 10uS 98.6mS

Limiter Release Time Field / Group: REL Range Low Range High

Adjust the Limiter release time.

The time taken for the limiter to return to zero attentuaion after limiting.

5.5mS 957mS

6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > COMPRESSOR - LIMITER

Vi3000 USER MANUAL

6.5.4: INPUT CHANNEL > BUSSES

Input Touch Screen Audio Blocks - Busses

The Busses section ofthe input channel vistonics touch screen signal path provides access to all Aux and Group contributions in the VST area, The Touch Screen block graphic shows activated Aux levels in orange and group routings in Green. The controls vary depending on whether you are working on Auxilliaries or groups.

Auxiliary Send Level Field / Group: Aux n Range Low Range High

Adjust the send level from the input channel to the numbered Aux Bus.

Auxiliary Send On Field / Group: Aux n Inactive Active

Enables the numbered aux send from the input channel.

The Orange bars in the bus touch screen areas show also aux send levels. The control display includes post / pre-fade routing of the aux buss.

The corresponding aux level bar in the bus touch screen area is highlighted orange when the aux send is enabled.

-90dB +10dB

Off On

6.5.4 6.5.4: INPUT CHANNEL > VISTONICS>BUSSES

Vi3000 USER MANUAL

6.5.4: INPUT CHANNEL > BUSSES

Stereo Aux Send Balance Field / Group: Aux n Range Low Range High

The Stereo symbol above the encoder shows that this

Adjust balance of the numbered stereo aux send.

aux send has been combined with its numerical neighbour to create a stereo aux send. The 'neighbour' aux send space will either be blank or show a balance control, depending on the busses' 'channel pan' status. If the aux has been set to follow the input channel panning, there will be no balance control.

30L 30R

Group Buss Routing Field / Group: Group n Inactive Active

Route the input channel signal to the numbered group bus.

The corresponding group assign bar in the bus touch screen area is extended and highlighted in blue when the numbered groups bus routing is enabled for this channel.

Off On

Stereo Group Buss Routing Field / Group: Group n Inactive Active

Route the input channel signal to the numbered stereo group buss.

The Stereo symbol above the encoder indicates that this group has been paired with its neighbour to create a stereo group buss that follows channel panning. The neighbouring group display will be blank.

Off On

Buss 'Blank' Field / Group: Inactive Active

Shows this buss has been assigned as a Matrix buss.

- -

6.5.4 6.5.4: INPUT CHANNEL > VISTONICS>BUSSES

Vi3000 USER MANUAL

6.5.5: INPUT CHANNEL > OUTS

Input Touch Screen Audio Blocks - Panning, Insert, Direct Out, Delay.

This page contains the output functions of the input channel including the panning, the routing to the mix masters, and the insert point and the direct out paramters. The Pan can work in LR or in LCR mode. In LCR mode an additional width function is available.

Panning Field / Group: PAN Range Low Range High

Adjusts panning to the Master L, R, and C busses, depending on pan mode chosen.

Panning On Field / Group: PAN Inactive Active

Activate or deactivate the panning controls.

If the channel is paired, the balance can be adjusted. If

the Pan {MODE} is set to LCR, an additional WIDTH eld

becomes available.

If PAN is set to OFF, then the level to all master busses is the same as if pan controls are 'middled'. That is -3dB for mono channel panning and 0dB for paired channel balance. If PAN is set to ON then the level to the master

busses varies between 0dB and -innity. For balance that becomes +3dB to -innity.

30L 30R

Off On

6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)

Vi3000 USER MANUAL

6.5.5: INPUT CHANNEL > OUTS

LR On

Centre On

Field / Group: MASTER LR Inactive Active

Routes the channel signal to the Left and Right masters.

Field / Group: MASTER C Inactive Active

Routes the channel signal to the Centre master bus.

Off On

Panning Mode Field / Group: MODE Range Low Range High

Set either LR or LCR Mode.

In LR Mode only Pan is available, though routing to the C master bus is still possible. With LCR mode enabled, the width parameter becomes available.

LR LCR

Insert Patch Field / Group: INSERT Active

Insert points provide a send and return path that inter-

rupts the channel signal ow.

In any Insert Select page, all available insert points can be patched to physical I/O by touching the on-screen

Select and assign physical I/O for the insert send and return.

(SETUP) button. You can return to insert assignment

by touching the (SETUP) button again. In Insert SETUP mode you can choose send and retun I/O from any of the available physical inputs and outputs, and you can pair inserts.

You can assign input channel inserts to any unused

insert point or to an available internal FX unit. If you try to select an insert point that has already been assigned, you will be offered the option to ‘steal’ that insert.

Close Patch-

ing Screen.

Open Patch-

ing screen.

Insert Point Field / Group: POINT

Select the point in the input channel's signal path for the insert point 'tap'.

Options are post-HPF/Pre-processing, post-processing/ pre-fader, or post-fader.

6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)

Vi3000 USER MANUAL

6.5.5: INPUT CHANNEL > OUTS

Insert Trim Field / Group: TRIM Range Low Range High

Adjust the actual send signal level.

Insert On Field / Group: TRIM Inactive Active

Activate the insert point. Off On

Direct Output On Field / Group: Inactive Active

Activate the Direct Output for this input channel.

Off On

Direct Output Gain Field / Group: Range Low Range High

Adjust the gain of the channel's Direct Output.

-90dB +10dB

Direct Output Point Field / Group:

Select the point in the

Direct Output Patch

input channel's signal path for the Direct Output 'tap'.

Field / Group: DIRECT OUT Inactive Active

Options are pre HPF, post-HPF/Pre-processing, post-processing/pre-fader, or post-fader.

Select and assign physical I/O for the direct output.

Opens a patching screen in the corresponding Vistonics touch screen area.

Close Patch

Screen

Open Patch

6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)

Screen

Vi3000 USER MANUAL

7.0: OUTPUTS

Outputs

Auxilliaries, Groups, and LCR Mix busses

7.0 7.0: OUTPUTS

Vi3000 USER MANUAL

7.0: OUTPUTS

4.3: INPUT CHANNEL > DYNAMICS

There are 24 congurable output busses on the Vi 3000, plus the Master Left, right, and Center (LRC) busses. You can choose to assign any of the 24 busses as mono OR stereo Auxilliaries or Groups with full processing. You can create stereo busses with no reduction in the total number of available busses (24 busses are available regardless of whether they are mono or stereo).

Up to 16 busses can be congured as mono or stereo Matrix (MTX) outputs with full processing, each with up to 24 congurable sources (including busses) - effectively creating up to 16 24-source mixes. Most of the references in this chapter refer to the Auxilliary and Group assignments. For the full Matrix system reference please see the Matrix reference chapter 9.

In normal operation (Output Fader Pages A, B, C, and User views) bus master output controls are mapped to the VST encoders in the Master Bay Vistonics screen over two pages. Use the [PAGE A] and [PAGE B] buttons to switch between those pages.

4.3 INPUT CHANNEL > De Esser

7.0 7.0: OUTPUTS

Vi3000 USER MANUAL

7.1: OUTPUTS > LCR MASTERS

Outpus: LCR Mix Master Busses

LRC Mix Outputs

The LRC Bus Master faders are located in the MASTERS section in the console Master Bay. These are dedicated faders and controls, and are never used for anything else.

To access the LRC Bus mastering page, simply press the MASTERS [SEL] button. The processing page will appear on the MasterBay Vistonics touch screen area.

The LRC Master busses can have their Parametric and/or Graphic Equaliser sections linked for easier adjustment. See below for more detail.

7.1 7.1: OUTPUTS > LCR MASTERS

Vi3000 USER MANUAL

7.1: OUTPUTS > LCR MASTERS

4.3: INPUT CHANNEL > DYNAMICS

Isolate Active

Isolate the LRC Masters from snapshot recall or Show Recall (with global ltering acive).

See the Snapshots / Global Filtering reference for more detail.

Channel

isolated

On Inactive Active

Bus On/Off (Mute). Off (Muted) On

LCR Select Active0

LCR Fader

L/C/R Link setup

Access EQ

Access the LCR Master Busses processing page.

Control the output levels of the LRC Masters

Set up LRC Master bus EQ and GEQ linking.

Gives access to the procesing blocks in the Master LRC outputs via the touch screen area of the Master Bay Vistonics.

The output levels of the LRC Master outputs are always controlled by their dedicated faders. Those faders are never used for anything else.

Left and Right busses can be linked, or the Centre bus can be added to the linked L and R so that all three busses can be adjusted together. It is not possible to link Left and Centre or Right and Centre. The defualt state, loaded with Default Show Files, is for LINK to be set to ON for LCR busses, both EQ and GEQ.

GEQ In

Adjust the parameteric EQ for this Master.

4.3 INPUT CHANNEL > De Esser

7.1 7.1: OUTPUTS > LCR MASTERS

The output bus parametrc EQ is the same is used for the input channel EQ. Please see the input channel reference for more detail.

Access L/C/R GEQ

Vi3000 USER MANUAL

7.1: OUTPUTS > LCR MASTERS

L/C/R Dynamics

L/C/R Insert/ Delay etc

Maps the BSS Graphic equaliser for this block to the console faders.

Access the L/C/R bus dynamics.

The controls for the Insert/Delay section are similar to those of the input channels.

See the BSS Graphics Equaliser reference later in this chapter for more Detail.

The controls are identical to those of the input channels, except there are no Gate or De-Esser modes available for output busses.

Extra functions unique to the insert section of the output channels are Low Cut Filter, Phase, and Delay. However, thse are the same as those in the Input section of the input channels.

7.1 7.1: OUTPUTS > LCR MASTERS

Vi3000 USER MANUAL

7.2: OUTPUTS > BUS CONFIGURATION

4.3: INPUT CHANNEL > DYNAMICS

Outpus: Bus Conguration

To congure the console busses and map the bus masters to the console input channel strips, you simply press the [ALL BUSS] button in the Input Fader Pages controls or assign a bank of eight bus masters to input bay 3 (right hand bay) by touching the relevant metering group in the Master Bay touch screen. You then patch physical outputs and name the busses by touching the Panning/Insert processing block in the touchscreen area and presing the {BUS OUT} and {OUT LABEL} buttons in the VST area.

You can name the output busses and assign the physical output by touching the nal PAN/INSERT/DELAY processing block and presing the {BUS OUT} and {OUT LABEL} buttons in the VST area.

4.3 INPUT CHANNEL > De Esser

7.2 7.2: OUTPUTS > BUS CONFIGURATION

Bus Type

Vi3000 USER MANUAL

7.2: OUTPUTS > BUS CONFIGURATION

Pan Follows Channel

Bus Format

Set the Bus Type for this Bus.

Set 'Pan follows channel' for a stereo bus.

Choose a format (mono or stereo) for the bus.

Choose from AUX, GRP or MTX with the encoder. If Aux is selected and if the format eld is set to stereo then the {CHPAN} eld is enabled.

Set this so the panning into a stereo auxilliary follows the channel panning rather than the Aux panning.

For Stereo Auxilliary busses, the CHPAN option will become available.

7.2 7.2: OUTPUTS > BUS CONFIGURATION

Vi3000 USER MANUAL

7.3: OUTPUTS > BUS MASTER CONTROL

4.3: INPUT CHANNEL > DYNAMICS

Outpus: Bus Master Control

Outputs Controls

There are four ways of controlling the console’s bus masters and two ways of acessing the output bus processing and parameters:

Master Bay VST Encoders

Bus master levels are available on the VST Encoders in the Master Bay, with groups of bus masters selected via the [Page A] and [Page B] Vistonics control buttons. The [TB ASN] (Talkback Assign), [ON/OFF], and [SOLO/SEL] Vistonics control buttons select the VST button function.

4.3 INPUT CHANNEL > De Esser

7.3 7.3: OUTPUTS > BUS MASTER CONTROL

Vi3000 USER MANUAL

7.3: OUTPUTS > BUS MASTER CONTROL

Master Bay output channel strips

Bus masters levels can be mapped to the eight Master Bay faders and associated channel strip controls by selecting Master Bay FADER PAGES buttons [A] (Busses 1-8), [B] (Busses 9-16), and [C] (Busses 17-24).

All Busses Mode

If the All Busses mode is active, achieved by pressing the [ALL BUSS] button in the Master Bay INPUT FADER PAGES controls, the input strips on all of the input bays will be switched to control the 24 output busses and the faders will control the bus master output levels.

Third Input Bay - Fast-Select

By touching any of the channel metering areas in the Master Bay touch screen area you assign that bank of eight to the third input bay. Three banks of eight outputs are located on the top row on the Master Bay touch screen.

Bus Parameter Control

With the console in All Busses mode, the console’s Vistonics screens give direct touch access to the processing chains of all 24 output buss channel strips.

Alternatively, with the Master Bay Vistonics button function set to [SOLO/SEL], pushing any bus master chanel strip [SOLO/SEL] button will display that bus output’s processing chain in the Master Bay touch screen area.

In both cases, selecting a processing block will bring that block’s parameters up on the VST area of the Vistonics

screen.

7.3 7.3: OUTPUTS > BUS MASTER CONTROL

Vi3000 USER MANUAL

7.3.1: OUTPUTS > MASTERS > VISTONICS

4.3: INPUT CHANNEL > DYNAMICS

Outpus: Master Bay Vistonics

With the Bus Master Controls in the VST elds of the Master Bay, a number of primary functions are available. Use the Master Bay VISTONICS button group to control which functions and which masters are available.

Talkback Assign Mode

Assign the {TB ASSN} function to the bus masters VST buttons.

On/Off Mode

Assign the {ON} function to the bus masters VST buttons.

Solo/Sel Mode

Enable solo/Select

Mode

See the Talkback and Oscillator chapter for more information.

Assigns the {SOLO} function to the bus masters VST buttons and let the Bus channel strip [SOLO/SEL] buttons access the bus parameters via the Master Bay touch screen.

4.3 INPUT CHANNEL > De Esser

7.3.1 7.3.1: OUTPUTS > MASTERS > VISTONICS

Masters Bank Pages

Bus Level

Bus Solo

Switch between banks of bus masters in the Master Bay Vistonics

VST area.

Control the level of the bus output.

Vi3000 USER MANUAL

7.3.1: OUTPUTS > MASTERS > VISTONICS

Bus ON

Talkback Assign

Solo this bus output. See the Solo system chapter for more information.

Enable / Disable (Mute) this Bus

Assign this bus to the Talkback system.

See the Talkback and Oscillator chapter for more information.

7.3.1 7.3.1: OUTPUTS > MASTERS > VISTONICS

Vi3000 USER MANUAL

7.3.2: OUTPUTS > MASTERS > CHANNEL

4.3: INPUT CHANNEL > DYNAMICS

Outpus: Master Channel Strip

The MasterBay chanel strips are for output Bus and VCA control, determined by the Master Bay Fader Pages selectors. The [VCA] button maps VCA masters 1-8 to the Master bay faders. Buttons [A] through [C] map busses 1-24 to the Master Bay channel strips in groups of eight. Buttons [D] maps VCA masters 9-16 to the eight master bay faders. For more information on VCAs, please see the Mute Groups & VCAs reference section 9. However, using the [ALL-BUSSES] mode and Master Bay meter selection input channel strips become bus master strips.

4.3 INPUT CHANNEL > De Esser

7.3.2 7.3.2: OUTPUTS > MASTERS > CHANNEL

ISO: Isolate Bus

Mute Safe LED

Isolate this bus from snapshot recall and Show recall (when Global Filtering is active)

Vi3000 USER MANUAL

See the Snapshot and Global Filtering chapter for more information.

7.3.2: OUTPUTS > MASTERS > CHANNEL

Bus Fader

FaderGlow

Bus MUTE/VCA Display

Indicate when Mute Safe is active for this

bus.

Control the the bus master output level.

The channel fader is colour-coded depending on its function.

When the Mute Safe system is enabled (in Monitoring section [SETUP]), then the channel strip SOLO/SEL button activates the Mute Safe status for that channel.

Input channel levels are not colour-coded. The other FaderGlow colours are Aux Sends: ORANGE; Groups: GREEN; Matrix Contribution: CYAN; VCA Master 1-8: BLUE; VCA Master 9-16: PINK.

Shows mute group and VCA group assignment for this channel.

Bus SOLO/SEL

If a touch-panel screen is open for the for another chan-

Defaults to adding the a SOLO enable for the

channel.

nel in the same bay, the [SOLO/SEL] button moves the touch screen to this channel. The button has other functions in other console modes such as selecting channel for a Copy or Paste edit function. Other functions for the [SOLO/SEL] button are detailed in the appropriate reference sections.

7.3.2 7.3.2: OUTPUTS > MASTERS > CHANNEL

Vi3000 USER MANUAL

7.3.3: OUTPUTS > MASTERS > PROCESS

4.3: INPUT CHANNEL > DYNAMICS

Outpus: Master Bus Processing Chain

The bus output processing chain has a parametric EQ block, a BSS Graphic Equaliser block (GEQ), a dynamics block, and a Pan/Insert block. You can also label the bus, assign a physical output, and set a delay inside the Pan/Insert block.

4.3 INPUT CHANNEL > De Esser

7.3.3 7.3.3: OUTPUTS > MASTERS > PROCESS

Bus Channel Strip EQ

Vi3000 USER MANUAL

7.3.3: OUTPUTS > MASTERS > PROCESS

Bus Channel Strip GEQ

Bus Channel Strip Dynamics

Bus Channel Strip Insert, Delay

Adjust the parameteric EQ for this Master.

Maps the BSS Graphic equaliser for this block to the console faders.

The controls are identical to those of the input channels, except there are no Gate or De-Esser modes available for output busses.

The output bus parametrc EQ is the same is used for the input channel EQ. Please see the input channel reference for more detail.

See the BSS Graphics Equaliser reference later in this chapter for more Detail.

The controls for the insert section are similar to those of the input

channels.

Patch and name the buss, as well as control panning insert conguration, delay, and more. Extra functions unique to the insert section of the output channels are Low Cut Filter, Phase, and Delay. However, thse are the same as those in the Input section of the input channels.

7.3.3 7.3.3: OUTPUTS > MASTERS > PROCESS

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

7.4: OUTPUTS > GRAPHIC EQ

Graphic Equalisers (GEQ)

The console has a total of 27 high-quality BSS Graphic Equalisers (GEQ) - one for each of the 24 assignable Busses, and one for each of the LCR Master outputs. The GEQs are all 30-Band EQs with an adjustable bandwdith control.

To access a GEQ, simply select a GEQ processing block from an output’s touch-screen parameter display.

Bus parameter displays can be accessed either by entering All Busses mode with the [ALLBUSS] button and selecting the GEQ block from the corresponding channel’s touch screen area, or by selecting a bus [SOLO/SEL] button while the Master Bay Vistonics button assign is set to Solo/Select. For more information see the Bus Output reference.

When a GEQ is selected, Bandwidth, Flatten, and In controls are mapped to the right-most VST controls, and the Graphic EQ bands are mapped to the console faders. There are two GEQ control modes. The Large GEQ mode maps all 30 bands accross the consoles faders. The Small GEQ mode mode maps eight GEQ bands to the Master Bay faders - scrollable with the Output Fader Page buttons [A] to [E]. The GEW Control mode is set in the Main Menu Settings

Tab.

4.3 INPUT CHANNEL > De Esser

7.4 7.4: OUTPUTS > GRAPHIC EQ

Vi3000 USER MANUAL

7.4: OUTPUTS > GRAPHIC EQ

4.3: INPUT CHANNEL > DYNAMICS

Bandwidth Range Low Range High

Adjust the bandwidth of the 30 GEQ bands.

The Bandwidth units can either be Q or Octaves, depending on the {EQ UNIT} setting in the Main Menu (Settings Tab).

0.24Oct 0.36Oct

Flatten All Active

Flatten levels of all bands of the currently active GEQ to 0dB.

All GEQ

bands 0dB

GEQ In Inactive Active

Activate or deactivate the currently selected

GEQ.

GEQ Out GEQ In

Graphic EQ Fader Range Low Range High

Adjust the level of the corresponding band.

The FaderGlow colour for a GEQ band is red. The centre frequency of the band is shown in the channel label display.

-12dB +12dB

GEQ Fader On Button Active

Indicates which GEQ bands are non-zero, and attens bands.

When you adjust the level of a GEQ band, the corresponding [ON] button is highlighted in red. A subsequent press of the [ON] button will atten/null the band and turn the [ON] light off.

Band level

0dB

4.3 INPUT CHANNEL > De Esser

7.4 7.4: OUTPUTS > GRAPHIC EQ

Vi3000 USER MANUAL

8.0: MATRIX

Monitoring Matrix

Instead of a simple Output matrix, the console has a built-in, freely-congurable matrix that can have up to 16 Outputs (mono or stereo) with full processing including parametric EQ, dynamics, delay, and graphic EQ. Each matrix output is a mix of up to 24 congurable sources that can be signals from busses, channel direct outputs, or inputs directly from the patching system.

The sources for each matrix mix can be individually patched, so the matrix can be utilized as 16 different mixers, each with up to 24 inputs, with output processing.

In order to use a matrix, the output bus must rst be conggured as a matrix output. This can be done easily either via All-Busses Mode (press the [All BUSSES] button in the Input Fader Pages section) or by touching the relevant meter group in the Master Bay touch screen. In this case, the buss masters and assignments will be mapped to the right-

hand input bay.

Matrix Control

To map matrix contributions to the input bays, rst endsure that the [ALL BUSSES] key is NOT selected, then Press the [SOLO/SEL] on a matrix master. All the input bays will change to the matrix contributions view and Faderglow™

illuminates with the matrix colour (cyan).

Press the Matrix source ‘+’ Vistonics button in one of the input screens above the fader you wish to use for the source. This opens a patching screen that allows the source to be chosen from the categories on the right side of the screen: MADI, Stagebox, Local, Direct Out or Bus Out.

Once the source is selected, its level to the matrix bus out will be controlled by the channel fader and [ON] button. With some types of source (Direct and Bus Out) is is possible to choose the point in the signal path of the source channel or bus from where the feed to the Matrix bus will be taken.

8.0 8.0: MATRIX

Matrix Source

Matrix Source Fader

Matrix Source Solo/Sel

Turn on (or off) the

corresponding matrix

source.

Adjust the level of this

source as a contribution to the matrix mix.

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

8.0: MATRIX

Matrix Pan Encoder

Matrix Source Source

Cancels the Matrix

mapping and returns

channels to normal operations.

Pan control for stereo Matrix sources.

Choose a source for this matrix input.

If the Matrix bus is stereo, the Pan control will appear

above each Matrix Source fader allowing the selected source to be positioned within the stereo image of the Matrix bus. If the Matrix is mono, this control will have no

function.

The button opens up a patch selection screen with all available matrix sources, including output busses, physical console inputs, and input channel direct outs.

Matrix X Point

Select the point/tap where the selected

matrix source is taken

from. For example, se-

lecting a buss master as

a matrix source offers the choice of pre-fade, post-fader, or post-ON.

4.3 INPUT CHANNEL > De Esser

8.0 8.0: MATRIX

Vi3000 USER MANUAL

9.0: MUTE & VCA GROUPS

Mute & VCA Groups

The console supports up to 4 mute Groups (MG) and 16 primary VCA masters that can include both input and output channels.

There is a secondary level of VCA functionality, most useful for monitor engineers, which allows the user to assign up to 16 VCA masters to each auxilliary mix when the auxilliaries are controlled for the channel faders. This means there are 25 possible sets of 16 VCA groups. A more detailed reference for this functionality is included later in the this chapter (section 9.3).

Each input and output strip has a VCA/mute group display next to its fader made up of eight LED indicators. These show which mute and VCA groups each channel belongs to in three modes: mute groups 1-4, VCAs 1-8, and VCAs 9-16. The mode selection for the indicators is selected in the DISPLAY section of the MUTE & VCA GROUPS buttons located on the left side of the Master Bay fader panel.

9.0 9.0: MUTE & VCA GROUPS

Vi3000 USER MANUAL

9.1: MUTE & VCA GRPS > MUTE GROUPS

4.3: INPUT CHANNEL > DYNAMICS

Mute Groups Operation

There are four console mute groups, activated with the [1], [2], [3], and [4] buttons in the MUTE & VCA GROUPS button group. Both input and output channels can be assigned to mute groups.

When a channel mute is activated by a mute group, the channel’s ON button glows red.

Mute group assignment is started by pressing the MUTE & VCA GROUPS [SETUP] button (see below).

Mute Setup Inactive Active

Press the MUTE & VCA GROUPS [SETUP] button, then chose a Mute Group button to

congure that group.

Mute Group 'n' Inactive Active

Press to activate / select a Mute Group.

The [SETUP] button will glow blue when pressed. The chosen mute group master button - [1], [2], [3], or [4]

- will glow red when you select that group. Press the [SOLO/SEL] key of any channels (input and/or outputs) to be assigned to the selected mute group, then press

[SETUP] again to exit the conguration mode.

In normal use, the mute groups selectors will activate the chosen mute group (mute those channels). In setup mode they select a mute group to be set up.

Normal

Mute Setup

Mode

Mute Group

Selected

4.3 INPUT CHANNEL > De Esser

9.1 9.1: MUTE & VCA GRPS > MUTE GROUPS

Vi3000 USER MANUAL

9.2 MUTE & VCA GRPS > VCA GROUPS

VCA Group Operation

VCA Groups conguration is started by pressing the MUTE & VCA GROUPS [SETUP] button. When you press a VCA

Master [SOLO/SEL] button you can assign channels to that VCA group with their individual [SOLO/SEL] buttons, and also access VCA group options - including labelling - in the Master Bay Vistonics. See below for more information.

You can select EITHER output chanels OR input channels to be part of a normal VCA group.

In order to assign VCAs, the VCA masters [SOLO/SEL] buttons have to be made available by selecting the appropriate Master Bay Fader Pages layer - [VCA] for VCA masters 1-8, or [E] for VCA masters 9-16.

VCA Master level at setup

The assignment of VCAs should be done with the channel or group faders and the VCA master, to which assignment is being made, being at or near a nominal operating level. That is, don’t assign a VCA master to a channel or group if the VCA master is at -40dB while the channel or group is at 0dB. There are 0dB buttons for VCA masters avilable in

VCA group conguration mode.

VCA and 'E' Buttons Active

The [VCA] button maps VCA masters 1-8 to the eight

Fader Pages buttons for mapping VCAs to the Master Bay faders.

Master Bay faders. The [E] button maps VCA masters 9-16 to the eight Master Bay faders. VCA Masters 1-16 can be assigned to any Output Fader page from A to E, along with Bus Output faders using the

User Dened fader page setup. The VCA page cannot

be remapped and always contains VCA 1-8.

Select VCA

Range

VCA Masters [ON] Buttons Inactive Active

If a channel that was previously on is turned off by the

Master On/Off button for all of the VCA's member channels.

action of a VCA Master [ON]/Off button, the channel’s [ON] button will illuminate in red to distinguish this condition from a manually 'off' channel. The VCA Master On/Off switch itself has only 2 states, and always illuminates red when off, and green when on.

All VCA

Members

OFF (muted)

All VCA Mem-

bers ON

VCA Group Fader Low Range

• When a VCA master fader is moved, the contributing channel fader levels remain unchanged.

• If a channel is assigned to more than one VCA Group,

An offset dB level for all channels that are members of the VCA Group.

the resultant offset applied to the channel is calculated as the arithmetic sum of the dB values of each VCA Master.

• Any VCA master fader reaching –innity dB (fader at lowet position) will set all member channels to –innity

dB, regardless of other Master fader settings.

• The maximum gain applied to a member channel as the result of the channel fader setting plus offsets from VCA Master faders is limited to +10dB.

-innity

VCA Master Solo/Sel Inactive Active

Depending on the setting of the AUTO button in the

A master Solo button for all of the VCA's member channels.

Monitor Setup page (SOLO section), activating a VCA Solo will result in PFL (if the group only has one member channel) or AFL (if the group has more than one member channel). Otherwise the VCA solo will follow the setting of the PFL/ AFL switch in the Monitor Setup page.

Normal Soloed

9.2 9.2: MUTE & VCA GRPS > VCA GROUPS

Vi3000 USER MANUAL

9.2 MUTE & VCA GRPS > VCA GROUPS

4.3: INPUT CHANNEL > DYNAMICS

VCA Setup Inactive Active

The [SETUP] button will glow blue when pressed. The [SOLO/SEL] button of the chosen VCA Master will also

Press the MUTE & VCA GROUPS [SETUP] button, then chose a VCA [SOLO/SEL] to congure that VCA group.

glow blue. You can then press the [SOLO/SEL] buttons on any channels you wish to make part of that VCA group. Then either press the [SETUP] button again to

exit the conguration mode, or press another VCA Master [SOLO/SEL] button to congure a new VCA group. During conguration of VCA groups, a number of options

become available in the Master Bay touch screen and VST area (see below).

Normal Setup Mode

Bulk Assign VCA

Aux VCA Mode Bulk On/Off

Reset VCA Masters

Label VCA Group

Select all input channels or no channels as members of the VCA Group.

Switch all VCA Masters in the Master bay between Aux VCA Mode and Normal mode. (See Aux VCA Mode reference).

Set VCA Masters to 0dB.

Select the VCA Group you require by pressing its

[SOLO/Sel] button rst.

Either set the currently selected master to 0dB, or all aux send VCA masters (see Aux VCA Mode reference).

Opens up a standard labelling keyboard in the Master Bay touch screen area for labelling the VCA master.

Hide Labelling Keyboard

Aux VCA Mode [On]/Off

See the curently selected Aux VCA Master on or off (see Aux VCA Mode reference).

4.3 INPUT CHANNEL > De Esser

9.2 9.2: MUTE & VCA GRPS > VCA GROUPS

When in fader [FLW] mode and an Aux master is selected, VCA Masters set to 'ON' will control the Aux VCA group, not the 'normal VCA group. Aux VCA group master faders are highlighted with white FaderGlow, while 'normal' channel VCAs are highlighted with blue FaderGlow.

Normal

Show Labelling Keyboard

Aux VCA Mode Active

Vi3000 USER MANUAL

9.3 MUTE & VCA GRPS > AUX VCA GROUPS

Aux VCA Groups (fader controlled)

The VCA Groups on the console are normally used to control groups of the input channel faders, for use by FOH engineers. In this case they are used to group mono and/or stereo channels together under control of a single master fader, for easier control during a mix.

For the Monitor mix engineer, controlling channel faders is of secondary importance to controlling Aux sends from channels, and so the functionality of VCA Groups has been extended to control of groups of Aux sends as well as channel faders.

Because there can be up to 24 Auxiliary sends congured on the console, this means that there are up to 24 sets of

VCA groups (each with up to 16 Group Masters), in addition to the set of main channel fader VCA groups.

VCA control of Auxes is only available by activating the Follow Output Solo [FLW] key next to the master faders. The pair of [FLW] keys for the VST Encoder Rows will not access this function.

It is possible to control only one Aux mix via its VCA masters at any one time.

When setting up Auxilliary VCAs, it is possible to turn the Aux VCA masters mode on or off for each VCA Master, so ‘normal’ VCAs can still be available.

9.3 9.3 MUTE & VCA GRPS > AUX VCA GROUPS

Vi3000 USER MANUAL

9.3 MUTE & VCA GRPS > AUX VCA GROUPS

4.3: INPUT CHANNEL > DYNAMICS

Auxilliary VCA Procedure

1) Select the Aux bus required by selecting the required master fader page [A]-[C].

2) Activate the [FLW] key next to the master faders.

3) Press the [SOLO/SEL] key under the required Aux master fader (or use the solo switches in the Master VST area).

4) Press [VCA] (for VCA 1-8) or [E](for VCA 9-16).

5) The FaderGlow for any active VCA master faders will change to white and the faders will move to show the offsets being applied to the Aux feeds from those channels assigned to the VCAs. At this point, the VCA Master [SOLO/SEL] keys have no function. The VCA [ON] switch controls the Aux send On/Off on the member channels.

6) To select another Aux for adjustment, press the required bank key [A]-[C], solo the required aux (or solo directly on the VST screen), and press [VCA] or [E]. To exit, press [SOLO CLEAR] and de-select [FLW].

Note: To set up Auxilliary VCAs, press the MUTE & VCA GROUP [SETUP] button after step 4 and assign member channels to that Aux VCA group as per the normal VCA group setup procedure (use the channel [SOLO/SEL] buttons to choose members, then press [SETUP] to exit). Note that Aux VCA Groups have to share the same input assignments as the ‘normal’ channel VCAs.

4.3 INPUT CHANNEL > De Esser

9.3 9.3 MUTE & VCA GRPS > AUX VCA GROUPS

Vi3000 USER MANUAL

10.0: MONITORING

Monitoring System

The monitoring system has three main sources - Monitor A, Monitor B, and Headphones. These are fed by a choice

of sub-sources, including Solos, LCR, Talkback return, and two user-dened stereo sources where the left and right

singals can be patched independantly

10.0 10.0: MONITORING

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

10.0: MONITORING

4.3 INPUT CHANNEL > De Esser

10.0 10.0: MONITORING

Vi3000 USER MANUAL

10.1: MONITORING > CONTROL

Monitoring: Console Controls

The following console monitoring controls are located to the right of the master faders in the Master Bay, except for [INPUT PRI] (Solo Input Priority), which is located with the SOLO button group on the upper section, to the right of the Master Bay.

There are three main monitoring outputs - A, B, and headphones. Monitor A is an LCR output, Monitor B is an LR output, and the headphones output is LR to the headphone socket on the front of the console. You can select a variety of

sources for the monitoring outputs, including two user-denable sources, USER A and USER B, with separate left and

right assignments.

Solos can be blended with the main monitor feed for contextual solos, and an Auto function can be set to select PFL or AFL depending on your solo selections.

Solo system control is described in the Monitoring SETUP section. The console’s Solo system logic and general use is described in the next chapter (11).

10.1 10.1: MONITORING > CONTROL

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

10.1: MONITORING > CONTROL

MNTR B - Monitor A/B Select Inactive Active

Select either the A or the B monitor to be displayed on the meter, to be controlled by the fader, and to be switched on and off by the [ON] switch.

Both Monitor A and B sources are always active (respecting their individual On/Off status'). The MTR B button changes metering and control assignment.

Monitor A Monitor B

Monitor Fader Range Low Range High

Control monitoring volume level.

-Innty +10dB

AFL and PFL indication

These two LEDs show if an active solo is a PFL or an AFL.

Monitoring Setup Active

Display the Monitor Setup Page on the master screen.

The [SETUP] key glows blue when it is active. SETUP Active

Headphones Level Range Low Range High

Control the headphones volume level.

The headphone output socket is located under the armrest at the front of the console, and is designed for headphones with impedances in the range 50-600 Ohms.

OFF +20dB

Solo Trim Range Low Range High

Trims source SOLO Level.

4.3 INPUT CHANNEL > De Esser

10.1 10.1: MONITORING > CONTROL

This control is SOLO context sensitive. It is possible to set a different trim for each of the 24 outputs in addition to a global input solo trim level.

-10dB +10dB

Vi3000 USER MANUAL

10.1: MONITORING > CONTROL

Solo Blend Range Low Range High

monitor_con_solo-

Blend.jpg

Adjust the background level of the monitoring source signal.

The level of the non-solo source adjusted from OFF to

-10dB to allow solos to be heard in the context of a mix that has a reduced level.

OFF -10dB

Solo Input Priority Active

Allows an Output Solo to remain active, whilst an Input

monitor_con_soloIn-

Priority.jpg

Activate Input Priority Mode

Solo is temporarily activated ‘over the top’ of it. When the Input Solo is deactivated, the Output Solo’s audio will return to the Solo Bus. For more detail, see the Solo System reference chapter 11.

Input Priority

Active

10.1 10.1: MONITORING > CONTROL

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

10.2: MONITORING > SETUP

Monitoring Setup

All monitoring source assignments for MONITOR A, B, and HP are assigned in the monitoring setup page, as well as monitoring delay.

Monitoring Input Solo Source

Choose either input channel PFL, AFL, or 'AUTO' as the Input Solo source.

Output solo source

Choose either output buss PFL or AFL as the Output Solo Source.

The AUTO option works by selecting PFL when only one solo is active and AFL when more than one solo is active.

4.3 INPUT CHANNEL > De Esser

10.2 10.2: MONITORING > SETUP

Solo-In-Place Mode

Mute Safe Mode

Activate the SOLO-INPLACE mode.

Vi3000 USER MANUAL

This is a destructive mode for use only during soundchecks or rehearsals. When a channel is soloed in SIP mode, all other channels are muted so that only the soloed channel is heard, in its stereo position, at the console’s mix outputs.

10.2: MONITORING > SETUP

MON SETUP Mode

Auto Cancel Mode

LCR Source Select

Enable the Mute Safe (SIP isolation) conguration mode.

Activate the Monitor Setup sub-page.

TBC

If (MUTE SAFE) is active the Mute safe state from the Input channels can be toggled with the Channel’s SEL Key. The state for a given channel is indicated by that

channel’s Mute Safe LED. NOTE: This conguration

mode is disabled when the setup page is exited.

The Monitor Setup sub-page parameters become available in the VST area of the master screen. See below for more details.

Select the mix master output sources for the monitor outputs A, B, and HP

For the Monitor A (LCR) output you can choose LCR and/or C; for the Monitor B and Headphone outputs you can choose LR and/or C. This selection cannot be combined with the User A or User B sources, but solo and talkback options are concurrent.

User A / B Source Select

Select the user-dened

output source for the monitor outputs A, B and HP.

Choose EITHER User A or User B as a main source for the monitoring output. This selection cannot be combined with the LCR, LR, or C sources, but solo and talkback options are concurrent. Each of the monitoring outputs has its own individual USER A / B assignment.

10.2 10.2: MONITORING > SETUP

Input Solo Select

4.3: INPUT CHANNEL > DYNAMICS

Vi3000 USER MANUAL

10.2: MONITORING > SETUP

Output Solo Select

Talkback Return Select

Monitor Follow A

Route the Input Solo Signal to the Monitor A, B, and headphone outputs.

Route the Output Solo Signal to the Monitor A, B, and Headphone outputs.

Route the Talkback Return Signal to the Monitor A, B, and Headphone outputs.

The Input Solo signal is dened in the SOLO section of

the monitor setup screen. Each of the monitoring outputs has its own individual IN SOLO assignment.

The Output Solo signal is dened in the SOLO section of

the monitor setup screen. Each of the monitoring outputs has its own individual OUT SOLO assignment.

Each of the monitoring outputs has its own individual Talkback Return assignment.

Force the Monitor B and/or Headphone source assignments to be the same as the MONITOR A assignment.

Monitor output format

LR - left source to left monitor out and right source to

Selects one of the stereo format options to be the listening format for the Monitor A, B, and Headphone outputs.

right monitor out • RL - left source to right monitor out, right source to left monitor out • LL - left source to left and right monitor outputs • RR - right source to left and right monitor outs • Mono - left and right source is summed and fed to left and right monitor. The Centre signal is not affected. Each of the monitoring outputs has its own individual FORMAT selection.

Monitoring delay - Fine Range Low Range High

Fine Control of the monitoring delay time.

Zero Delay NEEDED

4.3 INPUT CHANNEL > De Esser

10.2 10.2: MONITORING > SETUP

Soundcraft Vi3000 operation manual

Specifications and Main Features

Frequently Asked Questions

User Manual