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
+1 (608) 524-0625 • fax: +1 (608) 524-0655
Toll-Free: (800) 505-0625
www.sounddevices.com
support@sounddevices.com
302 User Guide and Technical Information
Table of Contents
Quick Start Checklist ........................3
Powering the 302 3
Interconnection 3
Setting Output Gain Structure 3
Setting Input Levels 3
Monitoring 3
Front Panel Descriptions .....................4
Input Panel Descriptions .....................5
Output Panel Descriptions ....................6
Inputs .....................................7
Mic/Line Level Selection 7
Gain (Trim) 7
Channel Fader 7
Phantom and T- Microphone Powering 8
High-Pass Filters 8
Pan Switches 9
Input Limiters 9
LED 9
Peak LED 9
Polarity Reverse - Input 2 9
Stereo Linking of Inputs 1 and 2 10
Inputs 4 & 5 10
Outputs ..................................11
XLR Outputs 11
XLR Output Level 11
Tape Out (Mix Output) 12
Output Limiters 12
Headphone Monitoring .....................12
HP Monitor Selection 13
Headphone Level and Overload LED 13
Tone Oscillator/Slate Microphone .............14
Tone Oscillator 14
Slate Microphone 14
The Meter .................................15
Source 15
Scale 15
IRT Scale Compliance 15
Ballistics 15
Ballistics Lock 16
Illumination Intensity 16
Mixer Linking .............................17
Powering .................................17
Power Switch and LED 17
Internal Batteries 18
External DC Sources 18
Power Metering 18
Power Consumption 18
The Setup Menu ...........................19
Entering the Setup Menu 19
Output Limiter Adjustment 20
Advanced Gain Structure and Interconnection ..21
Full Scale Tone 21
Setup Menu (v 3.6) .........................22
Specifications .............................23
Accessories ..............................25
CE Declaration of Conformity ................26
Warranty and Technical Support ..............27
Warranty 27
FCC Statement 27
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.
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v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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.
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302 User Guide and Technical Information
Front Panel Descriptions
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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.
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v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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
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2
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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.
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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.
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302 User Guide and Technical Information
Output Panel Descriptions
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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.
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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.
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v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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).
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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.
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v. 3.6 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
302 User Guide and Technical Information
When possible, attempt to equalize at the sound source with microphone selection, use of
windscreens, microphone placement, and on-board microphone filtering. Many microphones have
on-board high pass filters, and the high-pass filters on the 302 can be used in conjunction with the
microphone’s filters to increase the filter’s slope.
The high-pass filter is defeated when the switch is in the center position.
Pan Switches
The pan switches assign inputs to the output buses. Inputs can be sent to the left, right, or
both outputs equally. The 302 features excellent “off-attenuation” in the left and right
positions. With the use of the pan switches, separate mixes can be sent to the left and right outputs.
For example, a summed mono mix of all three inputs can be sent to the right output while an
isolated mix of only one input can be sent to the left output.
Input Limiters
The 302 Input Limiters act solely as “safety” limiters. Enabling the Output Limiters with the “LIM”
switch, located on the front panel, will also enable the Input Limiters. See Setup Menu to defeat the
Channel Limiters entirely.
In normal operation, with a properly set gain structure, the threshold of the Input Limiter will not
be reached. In the event of extremely high input signal levels, such as in high SPL environments, the
Input Limiter(s) will activate to prevent the input signal from clipping. Without the Input Limiters,
high signal conditions can overload the channel causing distortion.
Sound Devices recommends that the Input Limiters be engaged at all times. Input Limiters do not
effect audio below the set threshold (just below clipping) in any way. There is no user-selectable
adjustments to the Input Limiter’s threshold or its envelope.When Input Channels 1 and 2 are linked
as a stereo pair, the Input Limiters also are linked and perform the same gain reduction equally
across the channels.
LED
Each channel has an orange limiter LED which illuminates in proportion to the amount of
limiting. If the channel limiter LED illuminates substantially, reduce the amount of gain applied to
the channel by turning down the Gain (trim) pot.
Peak LED
Each channel has its own red Peak LED to indicate that the signal is 3 dB below the clipping level
of the respective channel. If the red Peak LED illuminates often, reduce the amount of gain applied
to the respective channel by turning down the Gain (trim) pot.
Polarity Reverse - Input 2
Engaging the Polarity Reverse Switch inverts the polarity of Channel 2. Polarity reversal is often
used to quickly reverse the stereo field in MS recording. The normal position is OFF, with polarity
reversal occurring when the switch is in the position.
Be advised that an audible pop occurs when the polarity switch changes states.
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