Sound Devices 302 User Manual

302

Compact Production Mixer
User Guide and Technical Information

Sound Devices, LLC

E7556 State Rd. 23/33 • Reedsburg, WI • USA
[phone] • fax: [phone]
Toll-Free: [phone]
www.sounddevices.com
[e-mail]

302 User Guide and Technical Information

Table of Contents

Limitation of Liability ........................3

Quick Start Checklist ........................4

Powering the 302 4
Interconnection 4
Setting Output Gain Structure 4
Setting Input Levels 4
Monitoring 4

Front Panel Descriptions .....................5

Input Panel Descriptions .....................6

Output Panel Descriptions ....................7

Inputs .....................................8

Mic/Line Level Selection 8
Gain (Trim) 8
Channel Fader 8
Phantom and T- Microphone Powering 9
High-Pass Filters 9
Pan Switches 10
Input Limiters 10
LED 10
Peak LED 10
Polarity Reverse - Input 2 10
Stereo Linking of Inputs 1 and 2 11
Inputs 4 & 5 11

Outputs ..................................12

XLR Outputs 12
XLR Output Level 12
Tape Out (Mix Output) 13
Output Limiters 13

Headphone Monitoring .....................13

HP Monitor Selection 14
Headphone Level and Overload LED 14

Tone Oscillator/Slate Microphone .............15

Tone Oscillator 15
Slate Microphone 15

The Meter .................................16

Source 16
Scale 16
IRT Scale Compliance 16
Ballistics 16
Ballistics Lock 17
Illumination Intensity 17

Mixer Linking .............................18

Powering .................................18

Power Switch and LED 18
Internal Batteries 19
External DC Sources 19
Power Metering 19
Power Consumption 19

The Setup Menu ...........................20

Entering the Setup Menu 20
Output Limiter Adjustment 21

Advanced Gain Structure and Interconnection ..22

Full Scale Tone 22

Setup Menu (v 3.6) .........................23

Specifications .............................24

Accessories ..............................26

CE Declaration of Conformity ................27

Warranty and Technical Support ..............28

Warranty 28
FCC Statement 28

Welcome

The 302 is the essential portable mixer for production companies and camera operators wanting to
take control of their audio. The 302 is stunning in size, flexibility, control and performance; it is the
most compact and cost-effective battery-powered professional audio mixer in its class.

With important features to accommodate nearly any over-the-shoulder production, the 302 can
interface with any professional microphone, wireless system, or camera/recorder input. Its
microphone inputs share the same superb circuitry of all Sound Devices field production tools.

With many of the controls of Sound Devices flagship 442 mixer, the 302 has a complete feature-set in
a compact, functional design. All controls are accessible on its three main surfaces. Its high-efficiency
power circuitry runs the mixer from either three internal AA batteries or external 5–18 VDC.

The 302 is part of Sound Devices family of field production audio tools, which includes mixers,
preamplifiers, computer interfaces, recorders, and their accessories.

2

v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

302 User Guide and Technical Information

Limitation of Liability

LIMITATION ON SOUND DEVICES’ LIABILITY. SOUND DEVICES, LLC SHALL NOT BE LIABLE TO THE PURCHASER OF THIS
PRODUCT OR THIRD PARTIES FOR DAMAGES, LOSSES, COSTS, OR EXPENSES INCURRED BY PURCHASER OR THIRD PAR­TIES AS A RESULT OF: ACCIDENT, MISUSE, OR ABUSE OF THIS PRODUCT OR UNAUTHORIZED MODIFICATIONS, REPAIRS,
OR ALTERATIONS TO THIS PRODUCT, OR FAILURE TO STRICTLY COMPLY WITH SOUND DEVICES, LLC’S OPERATING AND
INSTALLATION INSTRUCTIONS. TO THE FULLEST EXTENT PERMITTED BY LAW, SOUND DEVICES SHALL HAVE NO LIABILITY
TO THE END USER OR ANY OTHER PERSON FOR COSTS, EXPENSES, DIRECT DAMAGES, INCIDENTAL DAMAGES, PUNITIVE
DAMAGES, SPECIAL DAMAGES, CONSEQUENTIAL DAMAGES OR OTHER DAMAGES OF ANY KIND OR NATURE WHATSOEVER
ARISING OUT OF OR RELATING TO THE PRODUCTS, THESE TERMS AND CONDITIONS OR THE PARTIES’ RELATIONSHIP,
INCLUDING, WITHOUT LIMITATION, DAMAGES RESULTING FROM OR RELATED TO THE DELETION OR OTHER LOSS OF AUDIO
OR VIDEO RECORDINGS OR DATA, REDUCED OR DIMINISHED AUDIO OR VIDEO QUALITY OR OTHER SIMILAR AUDIO OR
VIDEO DEFECTS ARISING FROM, RELATED TO OR OTHERWISE ATTRIBUTABLE TO THE PRODUCTS OR THE END USER’S USE
OR OPERATION THEREOF, REGARDLESS OF WHETHER SUCH DAMAGES ARE CLAIMED UNDER CONTRACT, TORT OR ANY
OTHER THEORY. “CONSEQUENTIAL DAMAGES” FOR WHICH SOUND DEVICES SHALL NOT BE LIABLE SHALL INCLUDE, WITH­OUT LIMITATION, LOST PROFITS, PENALTIES, DELAY DAMAGES, LIQUIDATED DAMAGES AND OTHER DAMAGES AND LIABILI­TIES WHICH END USER SHALL BE OBLIGATED TO PAY OR WHICH END USER OR ANY OTHER PARTY MAY INCUR RELATED TO
OR ARISING OUT OF ITS CONTRACTS WITH ITS CUSTOMERS OR OTHER THIRD PARTIES. NOTWITHSTANDING AND WITHOUT
LIMITING THE FOREGOING, IN NO EVENT SHALL SOUND DEVICES BE LIABLE FOR ANY AMOUNT OF DAMAGES IN EXCESS
OF AMOUNTS PAID BY THE END USER FOR THE PRODUCTS AS TO WHICH ANY LIABILITY HAS BEEN DETERMINED TO EXIST.
SOUND DEVICES AND END USER EXPRESSLY AGREE THAT THE PRICE FOR THE PRODUCTS WAS DETERMINED IN CONSID­ERATION OF THE LIMITATION ON LIABILITY AND DAMAGES SET FORTH HEREIN AND SUCH LIMITATION HAS BEEN SPECIFI­CALLY BARGAINED FOR AND CONSTITUTES AN AGREED ALLOCATION OF RISK WHICH SHALL SURVIVE THE DETERMINATION
OF ANY COURT OF COMPETENT JURISDICTION THAT ANY REMEDY HEREIN FAILS OF ITS ESSENTIAL PURPOSE.

3

302 User Guide and Technical Information

Quick Start Checklist

Proper setup of sound sources and input devices is quick and easy with the 302. Follow the steps
outlined below for basic interconnection.

Powering the 302

1. Insert three AA-batteries with + side first into the mixer battery tube.

2. Slide the power switch to the INT position to power the 302. The power LED will illuminate
solid green with good batteries.

Interconnection

1. Connect the XLR output connectors of the 302 to the destination recorder, camera, or other
input.

2. Connect microphones, wireless receivers, or other signal sources to the XLR input connectors.

3. Switch phantom or T-power on, as need by microphone sources.

Setting Output Gain Structure

1. Determine the required input level of the destination source. If a line level connection is
required, no further output level adjustment is needed on the 302. If the input level of the
receiving device requires less than line level, such as microphone or a –10 dBu level, adjust
the master output level accordingly in the Setup Menu (see Output Level Control).

2. Turn on the 302’s tone oscillator. Adjust the input sensitivity on the destination device so that
the 302 output is at an average level with sufficient headroom to accommodate signal peaks.
For many digital cameras and recorders, this is often a range between –20 and –12 dBFS as
read on the recorder or camera’s peak meter. With analog devices, it is typical to set input
sensitivities so that tone is near 0 VU.

Setting Input Levels

1. Select the input type, mic or line, for each input channel.

2. Set the channel fader to the unity gain position (0 dB).

3. Attenuate the input gain control (push-up trim) while talk-testing inputs so that signal
indicates on both the 302’s level meter and the receiving recorder/camera level meter.

Monitoring

1. Connect headphones to the headphone connector located on the input panel.

2. Set the headphone source to ST to monitor stereo program. Raise the headphone volume
level to the desired level.

The 302 headphone output is capable of producing ear-damaging levels. Turn down levels before
switching headphone sources.

3. Monitor individual sources by moving the headphone selection switch to the 1, 2, or 3
positions.

4

v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

Front Panel Descriptions

1 2 3 4 5 6 87

9 181710 1211 13 14 15 16

302 User Guide and Technical Information

1. Fader

Primary control for adjusting the input
level during operation.

2. Peak LED

When illuminated, indicates that
the channel level is approaching the
clipping point.

3. Limiter LED

When illuminated, indicates that the
channel limiter is active and is reducing
the channel gain to prevent overload.

4. Gain (Trim)

Coarse input gain control. Sets the initial
input sensitivity level so that the Fader
can be used for fine gain adjustments.

5. Polarity Reverse Switch – Input 2

When engaged, the polarity of Input 2 is
reverse (180° out-of-phase) with respect
to inputs 1 and 3. Useful to flip the
stereo image with MS stereo.

6. Limiter Switch

Activates both input and output
limiters. ON is dual-mono limiter
operation, LINK is stereo operation.
Output limiter threshold is set in the
Setup Menu.

7. Output Meter

Sunlight-viewable, 20-segment LED
meter. Calibrated in dBu when peak­reading.

8. Slate Mic/Tone Switch

Two-position switch ,activates the slate
microphone in the left (momentary)
position, or the tone oscillator in the
right (latched) position. Additional
options are available in the Setup Menu.

9. Pan Switch

Assigns the input channel to the output
bus. Left-only, Center (equal left and
right), or Right-only.

10. High-Pass Filter (Low Cut)

Three-position switch engages the high­pass filter. Used to reduce excessive low
frequencies. 12 dB per octave at 80 Hz or
160 Hz. Center position is off.

11. Stereo Link LED (Inputs 1 & 2)

Indicates that inputs 1 and 2 are linked
as a stereo pair. Controlled in the Setup
Menu. In L/R stereo link input 2 Fader
controls overall stereo level. When in
MS position input 1 Gain (Trim) controls
Mid, input 2 Gain (Trim) controls the
amount of stereo (Side) information and
the input 2 Fader controls the overall MS
stereo level.

12. Meter Brightness

Controls the brightness of the LED
output meter. Each push selects among
the four brightness levels.

13. Meter Ballistics

Toggles among the available meter
ballistic options: VU-only, peak-only,
combo peak/VU, peak-hold/VU.

5

302 User Guide and Technical Information

14. Headphone Selector Switch

Sets the signal source sent to
headphones. Options include: input PFL
1, 2, 3; left output bus; right output bus;
Mono (summed left and right); STereo
master; RTN - stereo monitor return;
MS-mono; MS-stereo; RTN-MS.

15. Headphone Volume

Adjusts the overall volume of the
headphones. NOTE: the headphone
output is capable of ear-damaging
levels. Take care when adjusting among
signal sources.

16. Headphone LED

Indicates signal overload in the
headphone and RTN circuits.

Input Panel Descriptions

3 4

2

1

17. Battery Check Button

Press and hold to display the internal
and external battery levels on the output
meter. Battery level remains for two
seconds after button release

18. Power Switch/LED

Three-position switch, selects between
internal battery power or external DC
sources, middle position is off. Power
LED illuminates when power is on. LED
flashes when voltage reaches low limit.

See Powering.

5

1. XLR Inputs

Transformer-balanced channel inputs.
Pin-1 = ground; pin-2 = ‘hot’; pin-3 =
‘cold’. Can be unbalanced by grounding
pin-3 to pin-1 of the XLR connector.

2. Mic/Line Channel Switch

Selects the input level of the adjacent
connector. Mic level has 40 dB more gain
than line level.

3. Phantom/DYNamic/T-Power Selection

Selects the microphone powering type
of the adjacent input. DYN position
turns off all microphone powering. Mic
powering is selected per input. NOTE:
Use T-Powering only for T-Powered
microphones.

4. Phantom Voltage Selection

Selects between 48 V or 12 V phantom
voltage for all input channels. The three­position switch uses two positions for 12
V, there is no difference between these
positions.

5. Headphone Output

3.5 mm TRS stereo headphone output.
Can drive headphones from 8 to 2000
ohms to required monitoring levels.

6

v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

Output Panel Descriptions

302 User Guide and Technical Information

3

1. XLR Master Outputs

Active-balanced outputs. Pin-1 =
ground; pin-2 = ‘hot’; pin 3 = ‘cold’. Can
be unbalanced by using pin-2 for signal
and pin-1 for ground.

2. Battery Tube

Holds three-AA batteries for internal
powering. Accepts alkaline, lithium, or
NiHM rechargeable cells.

1

5

4

6

7

2

8

9

6. Channel 4/5 Activation LED

When illuminated, indicates that the
return connector is now set as input 4
and 5 in the Setup Menu.

7. Output Attenuation LED

When illuminated, indicates that the
XLR output connectors are set for a level
other than the factory default line level.

See Setup Menu to set XLR output levels.

3. Return (Channel 4/5) Level Control

Adjusts the gain of the return feed to
balance program and monitor signals in
headphones.

4. Return (Channel 4/5) Input

Unbalanced stereo 3.5-mm input
connector for return monitor audio. 3.5­mm wired tip = left, ring = right, sleeve
= ground. Connection used for inputs 4
& 5 when selected in Setup Menu.

5. Mix In

An input to the master bus designed
exclusively to link the Tape Out/ Mix
Out of 302, 442, MixPre, or MP-2 to
the 302 for additional inputs. Pin-1 =
ground, pin-2 = left, pin-3 = right. Shell
of TA3 connector must be grounded to
pin-1 to open connection.

8. Tape Out / Mix Out

Unbalanced stereo output on TA3-type
connector. Same program as master
output. Pin-1 = ground, pin-2 = left, pin­3 = right. Also used to link to the Mix In
of a 442 or 302.

9. DC Input

Accepts DC voltages from 5–18 VDC for
mixer powering. Hirose 4-pin connector
wired pin-1 negative (–), pin-4 positive
(+). Ext DC is completely isolated
(floating) from the rest of the circuitry.

7

302 User Guide and Technical Information

Inputs

The 302’s inputs consist of three, full-featured microphone preamplifiers. Each input has a wide gain
range to accommodate nearly all signal types. The 302 easily accepts signals from low-sensitivity
ribbon and dynamic microphones, medium-level wireless and condenser mic outputs, and “hot”
line-level signals.

The XLR inputs of the 302 are transformer-balanced. The isolation characteristics of transformers are
superior to other balancing techniques and are ideal for the hostile and uncontrolled environments
of field production. Transformers provide galvanic isolation from the driving source, meaning there
is no direct electrical connection. Signals are “transformed” magnetically. The input transformers in
the 302 use premium magnetic core material to achieve high signal handling capability (especially at
low frequencies) while keeping distortion to a minimum. Because of their inherently high common
mode impedance, transformers are unrivaled by any other type of input for common-mode noise
rejection.

The inputs of the 302 can be used as balanced or unbalanced. When unbalancing, ground pin-3
to pin-1 of the XLR connector. There is no change in gain between unbalanced and balanced
connections into the 302.

Mic/Line Level Selection

Selects the general input level for each input channel. Switch between Mic/Line levels using

the switch adjacent to the respective XLR input. Taking into account all gain stages, the 302
has 75 dB of available gain from mic input to line output. When inputs are set to the LINE position,
the input sensitivity is reduced by 40 dB.

Gain (Trim)

Like traditional mixing consoles, the 302’s input sensitivity is set with the Gain (trim)

potentiometer. With the Fader set to unity gain (0 dB or 12 o’clock), make the appropriate
adjustments with the Gain (trim) pot. Make coarse gain adjustments with the Gain (trim) pot during
setup. Once the gain is set to the desired level, recess the Gain (trim) pot to hide it from the 302’s
mixing surface.

Channel Fader

The Channel Fader is the primary level control used during mixing operation. Use the Fader to make
fine level adjustments during operation. The fader can be attenuated from off (full counter-clockwise
position) to +15 dB above the set Gain (Trim) level (full clockwise position).

8

v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

302 User Guide and Technical Information

Phantom and T- Microphone Powering

This switch selects the type of power that will be applied to the adjacent input XLR. The

302 provides both Phantom and T-power on each channel respectively. If neither Phantom
or T-power are required, with dynamic microphones for instance, it is good practice to turn off
microphone powering (DYN position).

Phantom Power

Phantom powering is a fixed DC voltage between 12 and 48 volts. This voltage is resistively applied
to pin-2 and pin-3 of an XLR connector relative to pin-1. There is no voltage difference between the
signal pins-2 and -3. Dynamic microphones will operate as normal when phantom power is applied
to them.

The 302 can provide up to 10 mA to each input at 48 V, sufficient for the most power-hungry
condenser microphones. Many phantom powered microphones do not require 48 V and can be
properly powered with 12 V. When acceptable, use 12 V phantom to extend the 302’s battery life.
The phantom voltage level can be set to either 12 V or 48 V and is applied across all inputs where
phantom power is selected.

T-Powering

T-powering is a microphone powering scheme used by several European condenser microphone
manufacturers. Today, T-powered microphones are not as common as phantom powered
microphones, but many are still in regular use. Unlike phantom power, T-power resistively applies
12 V between the signal pins -2 and -3. The 302 provides positive T-power, on the three-pin XLR
connector pin-2 has +12 volts relative to pin-3. T-power can be selected for each input.

When using “red dot” T-powered microphones (reverse polarity T-power) use a polarity-reversing
adapter on the input, otherwise damage to the microphone may occur.

Phantom and T-powering are not interchangeable. Use T-powering only for T-powered microphones.

The DYN (dynamic) position does not apply any voltage to the microphone input. It is generally
good practice to select the DYN position when microphone power is not required. Phantom power
can capacitively couple noise into the mic inputs with poor mic cables. Do not apply phantom power
when using ribbon microphones, improperly wired cables can permanently damage the microphone.

High-Pass Filters

Each channel of the 302 has a two-position high-pass filter. High-pass (or low-cut/low roll-off)

filters are useful for removing excess low frequency energy in audio signals. Wind noise is a
common unwanted low frequency signal and a high-pass filter is effective for reducing wind noise.
For most audio applications engaging the high-pass filter is beneficial, since little usable audio
information exists below 80 Hz, especially for speech reproduction.

The 302’s high-pass filters feature a 12 dB/octave slope with either 80 Hz or 160 Hz corner (-3 dB)
frequencies. The 160 Hz settings is used when aggressive filtering is required. The 302’s high-pass
circuit is unique because of its placement before any electronic amplification. Most mixer’s high­pass circuits are placed after the mic preamp, where all of the high-energy low-frequency signals get
amplified. Because the 302’s circuit cuts low-frequency signals before amplifying, higher headroom
is achieved in presence of signals with a lot of low-frequency energy.

9