SoundCraft K3 theatre User Manual
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SoundCraft K3 theatre User Manual

SoundCraft K3 theatre User Manual

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SOUNDCRAFT
USER GUIDE

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Summary of Contents for SoundCraft K3 theatre

  • Page 1 SOUNDCRAFT USER GUIDE...
  • Page 2 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.

  • Page 3: Table Of Contents

    Table of C ontents 1. Introduction Introduction Warranty 2. Installation Dimensions Precautions and Safety Instructions Mains Installation General Wiring Procedures Connections 3. Block Diagrams Standard Mono Input Module Theatre Mono Input Module Stereo Input Module Dual Group/EQ Output Module Dual Group/FX Return Module Quad Matrix Module Master Module Sheet 1 of 3 Master Module Sheet 2 of 3...
  • Page 4 Dual Group/FX Output Module 4.13 Quad Matrix Module 4.16 Master Module 4.18 Optional Meterbridge 4.23 Mute Scenes/Mute Groups & MIDI Module 4.25 Introduction 4.26 Mute Scenes/Mute Groups & MIDI Controller 4.27 Saving And Loading The Memory 4.28 Storing Mute Scenes 4.30 Recalling Mute Scenes 4.31...
  • Page 5 1. Introduction Introduction...

  • Page 6: Introduction

    The K3 is available in five different frame sizes 16, 24, 32, 40 and 48 channels. The choice of frames and modules means that the desk can be configured to match your needs and budget.
  • Page 7 Metering A VU output overbridge is available for all K3 frames, except for 16ch. The VU meters provide metering of the Group and Mix signals and monitor the Mono bus output. Additionally, the 8 VUs which normally monitor the group signals can be switched from the front panel to read the Matrix outputs or the Aux outputs.

  • Page 8: Introduction

    Equipment has been properly installed in accordance with instructions contained in Soundcraft’s manual; and b) the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing; and c) no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment;...

  • Page 9: Installation

    2. Installation Installation...
  • Page 10 Installation...

  • Page 11: Precautions And Safety Instructions

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

  • Page 12: Mains Installation

    Mains Installation The CPS275 is a linear power supply which produces the required DC voltages used by the K3. This unit has four nominal input voltages: 230V AC rms 115V AC rms 100V AC rms 85V AC rms. Warning! Do not replace the fuse with any other type, as this could become a safety hazard and will void the warranty.

  • Page 13: Initial Wiring Considerations

    To take full advantage of the excellent signal to noise ratio and low distortion of Soundcraft consoles care must be taken to ensure that incorrect installation and wiring does not degrade the performance of the desk. Hum, buzz, instability and Radio Frequency interference can usually be traced to earth loops and inferior earthing systems.

  • Page 14: Points To Remember

    Audio Wiring Having provided all equipment with power and earthing connections, consideration must be given to the method of providing audio interconnection and adequate screening of those interconnections. This must be done in a logical sequence to avoid problems and assist in the localisation of problem equipment. •...
  • Page 15 It is important to remember that all equipment which is connected to the mains is a potential source of hum and interference and may radiate both electrostatic or electromagnetic radiation. In addition, the mains will also act as a carrier for many forms of RF interference generated by electric motors, air–conditioning units, thyristor light dimmers etc.

  • Page 16: Wiring Conventions

    Wiring conventions ⁄ The K uses two different types of audio connector: 3-pin XLR and " 3-pole jacks. This section describes how to connect external equipment to the console. Correctly-made cables of the proper type will ensure peak performance from your mixer.

  • Page 17: Block Diagrams

    3. Block Diagrams Block Diagrams...

  • Page 18: Standard Mono Input Module

    Standard Mono Input Module Block Diagrams...

  • Page 19: Theatre Mono Input Module

    Theatre Mono Input Module Block Diagrams...

  • Page 20: Stereo Input Module

    Stereo Input Module Block Diagrams...

  • Page 21: Dual Group/Eq Output Module

    Dual Group/EQ Output Module Block Diagrams...

  • Page 22: Dual Group/Fx Return Module

    Dual Group/FX Return Module Block Diagrams...

  • Page 23: Quad Matrix Module

    Quad Matrix Module Block Diagrams...

  • Page 24: Master Module Sheet 1 Of 3

    Master Module Sheet 1 of 3 Block Diagrams...

  • Page 25: Master Module Sheet 2 Of 3

    Master Module Sheet 2 of 3 Block Diagrams...

  • Page 26: Master Module Sheet 3 Of 3 (Aux Master)

    Master Module Sheet 3 of 3 (Aux Master) 3.10 Block Diagrams...

  • Page 27: Functional Description

    4. Functional Description Functional Description...
  • Page 28 The standard mono input is provided with XLR and jack connectors, the XLR may be used for any level of input signal; inserting a jack automatically disconnects the XLR socket, and applies the jack signal (HI-Z I/P) to the input. The jack socket only operates on the lower sensitivity range.
  • Page 29 The DIR switch switches Aux 1 pot signal away from its bus and connects it to the Direct Output (ground compensated, 1/4" jack). When the DIR switch is not depressed, the Direct Output is fed with the post-fade signal. Routing The 100mm-travel FADER has 10dB of gain and is the main level control for the channel, enabling rapid and accurate control of the channel output level.

  • Page 30: Rear Connector Panel

    Rear Connector Panel INPUT (3-pin female XLR) Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold HI-Z INPUT, INSERT RETURN (1/4"" TSR Jack) Signal Hot Ring Signal Cold Sleeve Ground INSERT SEND (1/4" TSR Jack) Signal Hot Ring Ground Sense (Signal Cold for balanced option) Sleeve Ground...

  • Page 31: Auxiliary Sends

    The theatre mono input is provided with XLR and jack connectors, the XLR may be used for any level of input signal; inserting a jack automatically disconnects the XLR socket, and applies the jack signal (HI-Z I/P) to the input. The jack socket only operates on the lower sensitivity range.
  • Page 32 The DIR switch switches Aux 1 pot signal away from its bus and connects it to the Direct Output (electronically balanced, 1/4" jack). When the DIR switch is not depressed, the Direct Output is fed with the post-fade signal. Routing The 100mm-travel FADER has 10dB of gain and is the main level control for the channel, enabling rapid and accurate control of the channel output level.
  • Page 33 Rear Connector Panel INPUT (3-pin female XLR) Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold HI-Z INPUT, INSERT RETURN (1/4"" TSR Jack) Signal Hot Ring Signal Cold Sleeve Ground INSERT SEND (1/4" TSR Jack) Signal Hot Ring Ground Sense (Signal Cold for balanced option) Sleeve Ground...
  • Page 34 The SENS control adjusts the sensitivity of the input from +10 to -20dBu. The LINE A /B switch switches the input source from line A to line B. These are electronically balanced inputs via 1/4" jacks on the rear connector panel. The LEFT ∅...
  • Page 35 The signal in the module is turned on and off by the CUT switch ,which is linked to the MIDI muting system. When the module is muted by the MIDI system the CUT switch illuminates. The PREVIEW LED is illuminated by the MIDI system when PREVIEW mode is selected, to indicate that the channel is muted by the selected scene number.
  • Page 36 Rear Connector Panel LINE A & B (Left and Right) (1/4"" TSR Jack) Signal Hot Ring Signal Cold Sleeve Ground 4.10 Functional Description...

  • Page 37: Master Module

    The Dual Group/EQ Output Modules are optional inasmuch as either these modules or Dual Group/FX Output Modules will be fitted. Note that additional numbers of either of these Group Output Modules may be fitted to act as Aux Masters (the normal Aux master controls may be disconnected by removing jumpers on the Master Module).
  • Page 38 After-Fade Listen The electronically-latching AFL switches feed each group’s post-fade signal to the monitor outputs and phones output. If solo Auto Cancel is selected on the Master Module, then AFL will cancel any other active SOLOs or AFLs. The AFL may also be cleared with the master SOLO CLEAR function.
  • Page 39 The Dual Group/FX Output Modules are optional inasmuch as either these modules or Dual Group/EQ Output Modules will be fitted. Note that additional numbers of either of these Group Output Modules may be fitted to act as Aux Masters (the normal Aux master controls may be disconnected by removing jumpers on the Master Module).
  • Page 40 Stereo Return (FX) Section The Stereo Return section is completely separate electronically from the group sections. The input sensitivity is switchable between -10dBV and +4dBu by means of a switch which is accessible via a screwdriver hole in the rear panel. The signal then passes to the WIDTH control, which varies the image from mono (anticlockwise) through normal stereo (centre detent) to phase-enhanced wide stereo (clockwise).
  • Page 41 Rear Connector Panel INSERT SEND (1/4"" TSR Jack) Signal Hot Ring Ground Sense Sleeve Ground INSERT RETURN (1/4"" TSR Jack) Signal Hot Ring Signal Cold Sleeve Ground GROUP OUTPUTS (1/4"" TSR Jack) Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold STEREO (FX) RETURN (1/4""...
  • Page 42 The Quadruple matrix module incorporates four matrix outputs with level controls, with 12 receive controls on six dual concentric pots per output. The 12 receive signals comprise: • Mono/Ext input • Mix L/R • Group outputs 4/8 • Group outputs 3/7 •...

  • Page 43: Rear Connectors

    Rear Connectors Matrix Outputs (3 pin male XLR) Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold External Inputs (1/4" TSR jack) Signal Hot Ring Signal Cold Sleeve Ground Functional Description 4.17...

  • Page 44: Main Outputs

    The double width master module, typically situated near the right hand side of the console, contains the stereo mix output, the operator’s headphones and wedge speaker outputs, a noise or sine wave test oscillator, the solo mode controls and master solo clear function, internal/external talkback functions, master mute switches and PSU status indicator LEDs.

  • Page 45: Solo System

    Solo System A solo system of pre-fade (inputs) and post-fade (outputs) feeds the monitor and phones outputs. Normally, all active AFL and PFL signals are summed together and fed to the monitor and phones outputs. This overrides the stereo mix or 2-track signal which is normally fed to the monitor/phones output.
  • Page 46 3-pin XLR on the master module front panel. The sensitivity of the mic input is variable between -20dBu and -50dBu. The EXT button initiates talkback to the monitor console using a Soundcraft proprietary system. The talkback mic signal is switched to the T/BACK OUT XLR, with a +15v DC common-mode voltage to signal the Monitor console (an SM12, 16, 24 or Delta Monitor) that talkback is occurring.
  • Page 47 Auxiliary Master Section The Aux master houses the summing amplifiers and output controls for the 8 Auxiliary outputs. Each of the eight sections is identical. The aux busses are connected to their summing amps via jumpers which enable the bus connection to be broken, in the situation where the user wishes to fit additional Dual Group/EQ modules for use as Aux masters.
  • Page 48 Rear Connectors EXTERNAL TALKBACK IN, TALKBACK MIC IN (3 pin female XLR) Pin 1 Ground Pin 2 Signal Hot Pin 3 Signal Cold INSERT RETURNS (1/4" TSR Jack) Signal Hot Ring Signal Cold Sleeve Ground INSERT SENDS (1/4" TSR Jack) Signal Hot Ring Ground sense...
  • Page 49 The optional meterbridge has 11 VU meters: 8 (marked 1 - 8) which may be switched to monitor the Group Outputs, the Auxilliary Outputs, or the Matrix Outputs. The remaining 3 meters monitor the Left, Right and Mono Outputs. The Mono Output Meter also monitors the Solo signal when any Solo/PFL button is active.
  • Page 50 4.24 Functional Description...

  • Page 51: Mute Scenes/Mute Groups & Midi Module

    Mute Scenes/Mute Groups & MIDI Module Introduction 4.26 Mute Scenes/Mute Groups & MIDI Controller 4.27 Saving And Loading The Memory 4.28 Storing Mute Scenes 4.30 Recalling Mute Scenes 4.31 The ’All’ Scene 4.32 Introduction To The M1-M8 Buttons 4.33 Using The M1-M8 Buttons In Mute Groups Mode 4.34 Mute Groups Tutorial 4.35...
  • Page 52 The possibilities are almost endless with MIDI control, as more and more equipment includes a MIDI interface. The DataFader is a further extension of the K3’s MIDI capabilities, giving even more control of outboard equipment from the console’s control surface. The DataFader is a real time control which generates MIDI Continuous Controller data as it is moved, and sends it out via the console’s MIDI output.
  • Page 53 This module has two distinct functional areas: The Mute Scenes/Mute Groups Controller and the MIDI Controller (some controls are shared by these two areas). Mute Scenes Controller The Mute Scenes controller is able to store the Cuts (mutes) for up to 128 different scenes (1 to 128).
  • Page 54 information which will turn the appropriate cuts on and off, it will also receive Program change information to select mute scenes. This channel will also transmit Note On and Note Off data from the cut switches: note that if the MIDI CHANNEL is set to ANY no Note On or Note Off data will be sent.
  • Page 55 dump. When you do press the DUMP IN button the 7-segment display shows three flashing bars, which stop flashing while incoming MIDI data is being received. At the end of the dump, the RAM is protected again, and the 7-segment display returns to the scene number display.

  • Page 56: Preview Mode

    Mute Scenes may be stored using two alternative methods: Active Mode This is the default mode, but it is also a ’live’ mode, that is, any cuts which you select will affect their channels immediately. We do not recommend using this mode during a performance.
  • Page 57 There are two ways of recalling scenes: Active Mode This is the default mode, it is also the ’live’ mode and is therefore the one which is used during a live performance. Suppose that you wish to recall scene 1. You change the display to scene 1 by use of the Up/Down switches.
  • Page 58 The ALL scene allows selected data to be copied uniformly across all 128 scenes, to facilitate ’global’ setting of the console (eg changing the DataFader to Controller #7 on all scenes). The currently displayed mute status or parameter value will be copied to all scenes when store is pressed.
  • Page 59 The M1 - M8 buttons can be used in two ways, depending on the application. Mute Scenes In this mode the M1 - M8 buttons simply act as instant recall buttons for any of the 128 scenes which have already been stored using the 7-segment display and STORE button.
  • Page 60 The following instructions only apply to ’Mute Group’ mode. How To Set Up A Mute Group Make sure that the console is in ’Mute Group’ mode (see ’Switching between Mute Scenes Mode and Mute Groups Mode’ on page 4.33). To set up a Mute Group you must be in PREVIEW mode.(Press the Preview button on the Midi module).
  • Page 61 Example 1: Setting up and using a Mute Group 1) In Preview mode, assign a set of mutes to Mute Group 1 (M1), by pressing CUT on the channels you want to assign, holding STORE and pressing M1. 2) Press Preview to exit Preview mode. 3) Start from a state in which NO channels are muted and NO Mute Groups are active.
  • Page 62 When the console is in Mute Scenes mode (see ’Switching between Mute Scenes Mode and Mute Groups Mode’ on page 4.33), the M1 - M8 buttons are designed to allow ’instant’ recall of any mute scene, without having to use the Up/Down buttons and 7-segment display to find the scene and then recall it with the ’Recall’...
  • Page 63 At the same time as creating a mute scene, a number of other parameters can be stored. These are: • Program change number for the scene • MIDI channel number for program change messages • Controller number for DataFader • MIDI channel for Controller messages •...
  • Page 64 9. Press and hold the MIDI CHANNEL button at the top of the module. The 7-segment display now shows the currently stored DataFader MIDI channel for scene 12. Use the Up/Down buttons to set the MIDI channel to channel 8. When 8 is shown in the display, release the MIDI Channel button. Press the Set Controller button again to turn it off.
  • Page 65 If you want to change any of the MIDI parameters individually within a scene, follow the instructions in the example on the previous page, but omit the steps which refer to parameters you do not wish to change. You can change the value of just one parameter if you wish, and then press store.
  • Page 66 As described above, the MIDI channels for Program change transmit and DataFader transmit are set and stored for each scene. The MIDI channel for the receiving of Program Changes and both the transmitting and receiving of Note On and Note Off messages can also be set and stored in the same way.
  • Page 67 Table of MIDI Note Numbers sent/received by K3 mute switches Table 2 Functional Description 4.41...
  • Page 68 4.42 Functional Description...

  • Page 69: Specifications

    5. Specifications Specification...

  • Page 70: Frequency Response

    S pec ific ations Frequency Response Any input to any output 20Hz - 20kHz, +0/-0.5dB Mic. input at over +50.dB gain to any output 20Hz - 20kHz, +0/-3dB Total Harmonic Distortion (All measurements at +20dBu) Hi-Z In to Group or Mix out Less than 0.005% @ 1kHz Noise (22Hz - 22kHz bandwidth, unweighted)

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