SOUNDCRAFT MH3-48 Details top
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KEY FEATURES
- Flexible Auxiliary Bus structure with 2 stereo sends for in-ear monitoring
- Versatile design,allowing FOH,Monitors,or Monitors from FOH configurations
- 8 group busses and 12 aux busses in FOH mode
- Semi-modular in blocks of 8 for flexible layouts and easy
- 12 monitor busses (12 mono,or 8 mono + 2 stereo) serviceability in Monitor mode
- Frame sizes 24 mono/4 stereo,32 mono/4 stereo,40
- Swap mode allows fader control of Aux outputs in Monitor mono/4 stereo,48 mono/4
stereo,56 mono/4 stereo mode
- Integral 12x4 matrix,can be expanded to 12x8 with
LCR panning on inputs optional matrix module
- 8 VCA groups and 8 Mute groups with snapshot
- 3-band EQ on FXReturns 1-8,switchable to Group or Aux automation and MIDI control outputs
- Integrated control of BSS Audio VaricurveTM and dbx
- New Mic Amp design with high headroom and DriveRackTM outstanding CMRR
- Integral LED bargraph metering for all inputs and outputs
- New EQ design with focused response
- Optional VU output meterbridge
MONO INPUTS ARE MODULAR IN BLOCKS OF 8 CHANNELS, AND FEATURE AN INTEGRAL REAR-CONNECTOR
PANEL. THE SMALLEST FRAME SIZE PROVIDES 24 MONO INPUT CHANNELS - 2 MODULES (16 CHANNELS)
TO THE LEFT OF THE CENTRAL CONTROL SECTION AND 1 MODULE (8 CHANNELS) TO THE RIGHT.
New High Performance Input Preamp
The MH3 uses the mic preamp which was designed for the
MH4. This features a high headroom, outstanding CMRR
performance and well-behaved overload characteristics.
The XLR input can handle signals up to +26dBu, with a
gain range of +15dBu to +60dBu and a 20dB gain change
switch. A Peak LED indicates internal signal levels in
excess of +18dBu.
Polarity reverse and phantom power switching is provided,
with both front and rear panel indication of phantom power
status.
Balanced Insert Point
Separate jacks provide a pre-EQ balanced send and
return, at a nominal level of 0dBu.
EQ and HI-PASS Filter
This new design retains the traditional Soundcraft
response, but sounds better, with steeper slopes on the HF
stage focusing the control where you want it, and some carefully tailored
overshoot on the LF band, which automatically controls the muddy lowermid
frequencies when boosting lows. The all-important high-pass filter is
variable from 30Hz - 400Hz with bypass if required.
The EQ section is four band, with shelving sweep high
and low frequency
sections, and fully parametric high-mid and low-mid bands. The frequency
ranges are 30Hz-500Hz (LF), 75Hz-1.3kHz (Low Mid), 750Hz-13kHz (High
Mid), and 1.2kHz-20kHz (HF), with ±15dB of cut or boost available at any
frequency. The Q is variable on the two mid bands from 0.5 to 3.
Aux Sends
There are 12 aux sends, which can be used either as FX sends in FOH use,
or monitor mixes for monitoring. Aux 1&2 and 3&4 can be switched to
stereo pairs, with separate level and pan for in-ear sends, using the
adjacent colour-coded STE switches. Each send has a maximum gain of
+6dB. The auxes can be switched pre- or post-fader by the adjacent PRE
switches, which are in pairs for the first 8 sends, and as one group for aux
9-12. The default pre-fade signal for all auxes is pre-EQ but can be
changed to post-EQ via internal links (both feeds follow the channel mute).
Subgroup Routing
In addition to the 12 aux sends, 8 busses are provided for conventional
subgrouping. Routing to these is via 8 individual routing switches. The PAN
to Groups switch allows any odd/even pair of group busses to follow the
channel pan pot as a stereo pair.
Direct Output
A direct output on balanced 1/4" jack is available from the channel. The
source is controlled by the DIR switch, which switches the direct output from
pre-EQ to post-fade when the switch is pressed in. In addition, there are
internal solder links to alter the signal feeds in both of the switch positions,
as follows:
DIR switch pressed post-fade (default) post-EQ
DIR switch not pressed pre-EQ (default) pre-filter
Solder links
Mix Bus Routing and Pan control
The signal is sent to the stereo mix bus and the mono (C) bus using the
MIX and C switches. The PAN control, which gives 3dB centre drop, operates
on the stereo mix bus signal, unless LCR panning is engaged. The mono bus
(C) is always fed directly with the post-fader signal, unless LCR panning is
engaged.
LCR PanningThe LCR switch changes the mode of the pan pot from normal left–right
panning with a 3dB centre drop, to 3-way LCR panning,
requiring both the C bus and LR stereo mix bus to be
routed, and the pan pot panning from left to C, and C to
right. When the pot is physically centred, there is no output
from the left and right mix bus outputs.
Fader A high-quality long-throw 100mm fader controls the level
to all busses, and has 10dB of gain when fully up as well
as an expanded scale around the critical unity gain area
for maximum resolution.
MUTE The MUTE switch mutes the signal to all busses, including
pre-fade aux sends. The mute circuit can also be activated
by the mute group system, a SIP mute signal, a VCA mute
signal, or internal snapshot control from the scene
computer. A Preview mode allows editing and checking of
mute groups and snapshots without disturbing the audio
passing through the console, and mutes can be set ‘Safe’.
LED Input Metering
Every channel is fitted with a 12-segment LED bargraph
meter, positioned next to each fader for maximum visibility
and giving immediate graphic indication of incoming signals at the insert
return.
VCA Assignment
Each channel can be assigned to any combination of 8 VCA subgroups,
using the SOLO button on each channel, in conjunction with the VCA master
SOLO switches in VCA assign mode. Once assigned to a VCA group, the
channel’s fader level, mute and solo button come under the control of the
VCA master controls, but can still be operated locally.
SOLO The SOLO button provides a PFL feed to the engineer's
headphones or monitors, or triggers a destructive solo in place, depending on the mode
selection at the master section. The SOLO button can also be activated
remotely from a VCA solo when assigned to a VCA group, giving stereo AFL.
Intercancel or additive soloing is possible, with or without input priority, and
solos can be cleared with a single button press at the master section. The
SOLO button also features automatic momentary operation, by pressing and
holding for more than 0.5 seconds.
MODULE OF 4 STEREO INPUT CHANNELS IS FITTED AS STANDARD TO ALL FRAME SIZES, ALWAYS TO THE
LEFT OF THE MASTER SECTION. MORE STEREO INPUTS CAN BE ADDED BY REPLACING 8 MONO INPUT
MODULES ANYWHERE IN THE FRAME. TWO OPTIONAL MODULES ARE AVAILABLE WHICH WILL INCREASE
THE NUMBER OF STEREO INPUTS: AN 8 STEREO INPUT MODULE OR A 4 MONO + 4 STEREO INPUT
MODULE. MORE DETAIL IS GIVEN ON THESE IN THE CONFIGURATIONS SECTION.
Input Stage A stereo version of the mono input's high performance
preamp offers the same gain range of +15dBu to
+60dBu with phantom power switching and polarity
reverse on the left channel. The peak LED indicates
signals in excess of +18dBu, while two MONO switches
cut either left or right channel, feeding the alternate
channel to both module paths, or if both are pressed, a
mono sum of L and R to the module paths.
Balanced Insert Points
Separate jacks provide a pre-EQ balanced send and
return, for left and right channels, at a nominal level of
0dBu.
EQ and HI-PASS Filter The EQ section is stereo four band, with sweepable
frequencies on all bands. The frequency ranges are
35Hz-400Hz (LF), 250Hz-2.5kHz (Low Mid), 500Hz-5kHz
(High Mid), and 1.8kHz-16kHz (HF), with ±15dB of cut
or boost available at any frequency. The Q is fixed on all bands at 1.1.
The stereo high-pass filter is fixed at 80Hz, with bypass if required.
Aux Sends As on the mono input there are 12 sends,
for FX or monitor use. Aux
1&2 and 3&4 can be switched to stereo pairs, with separate level and
pan for in-ear sends, using the adjacent STE switches, colour-coded to
match the relevant send knob. Each send has a maximum gain of +6dB,
and is always fed from a mono sum of the left and right signals. The
auxes can be switched pre- or post-fader by the adjacent PRE switches,
which are in pairs for the first 8 sends, and as one group for aux 9-12.
The default pre-fade signal for all auxes is pre-EQ but can be changed to
post-EQ via internal links (both feeds follow the channel mute).
Subgroup Routing In addition to the 12 aux sends,
8 busses are provided for conventional
subgrouping. Routing to these is via 8 individual routing switches.
Normally the group switches are fed by a mono sum of left and right
signals, but the STE switch allows any odd/even pair of group busses to
be used as a stereo pair, following the channel’s balance control.
Mix Bus Routing and Balance Controls
The signal is sent to the stereo mix bus and the mono bus using the MIX
and C switches.
The BAL control allows the left signal to be faded down to zero level
when turned fully clockwise, and vice-versa for the right signal. In the
centre position, both channels are fed at unity gain to the mix bus. The
balance control also affects the L-R balance within the mono sum sent
to the aux sends or group busses. The mono (C) bus is always fed
directly with a mono sum of the stereo post-fader signal.
Fader A high-quality long-throw 100mm fader controls the
level to all busses, and has 10dB of gain when fully up
as well as an expanded scale around the critical unity
gain area for maximum resolution.
MUTE
The MUTE switch mutes the signal to all busses,
including pre-fade aux sends. The mute circuit can also
be activated by the mute group system, an SIP mute
signal, a VCA mute signal, or internal snapshot control
from the scene computer. A preview mode allows editing
and checking of mute groups and snapshots without
disturbing the audio passing through the desk, and
mutes can be set "Safe".
LED Input Metering
Every channel is fitted with a 12-segment LED bargraph
meter, positioned next to each fader for maximum
visibility and giving immediate graphic indication of
incoming signals at the insert return.
VCA Assignment
Each channel can be assigned to any combination of 8
VCA subgroups, using the SOLO button on each channel, in conjunction
with the VCA master SOLO switches in VCA assign mode. Once assigned
to a VCA group, the channel's fader level, mute and solo button come
under the control of the VCA master controls, but can still be operated
locally.
SOLO
The SOLO button provides a stereo PFL feed to the engineer's
headphones or monitors, or triggers a destructive solo in place,
depending on mode selection at the master section. The SOLO button
can also be activated remotely from a VCA solo when assigned to a VCA
group, giving Stereo AFL. Intercancel or additive soloing is possible, with
or without input priority, and solos can be cleared with a single button
press at the master section.
THE GROUP/RETURN MODULE CONTROLS THE FIRST 8
AUX OUTPUTS, THE 8 GROUP OUTPUTS, PLUS 8 STEREO
FX RETURN INPUTS. THE 8 FADERS ON THIS MODULE CAN
CONTROL EITHER GROUP OR AUX OUTPUTS, DEPENDING
ON RECESSED SWITCH SETTINGS - THIS IS THE KEY TO
THE DUAL PURPOSE CAPABILITY OF THE MH3. AT THE TOP
OF THIS MODULE, 12-SEGMENT LED BARGRAPH METERS
MONITOR THE OUTPUT LEVELS.
Group and Aux Outputs with Swap Facility
The key to the dual-purpose capability of the MH3 is the reversible
signal path which allows either the group or the aux output signal to
be controlled by a linear fader, and have access to an insert point.
For FOH applications, the groups are required on faders for
subgrouping duties, and the insert point allows external EQ or
dynamics to be used on the group. The aux sends in this application
will be used for FX sends, so rotary master controls are appropriate.
By pressing the recessed GRP/AUX ON FDR button, thereby
changing it to AUX mode, the console is set up for stage monitor
use, where the aux output is controlled by the fader, and has use of
the insert point for EQ insertion. Meanwhile the group output is
swapped to the rotary fader.
It is possible to swap the fader mode for each
of the 8 outputs individually, allowing any
combination of subgroups and
monitor sends on faders.
This flexibility is
essential when doing
monitor mixes
from FOH.
Fader Output Section
Each of the 8 fader master sections comprises a 60mm fader which
feeds either the group or aux signals to their respective balanced
XLRs on the rear panel. A pre-fade balanced insert point, via
separate 1/4" jacks, allows insertion of EQ and/or dynamics. Each
fader knob is colour co-ordinated with its aux bus send control for
easy identification when controlling monitor mixes, and the 12-
segment bargraph meter at the top of the module provides line-ofsight
metering of any fader-controlled output. The TB (osc) button
routes talkback, tone or pink noise from the central
talkback/oscillator section to whichever output is being controlled
by the fader.
Illuminated MUTE and AFL SOLO buttons are provided for each
fader. If stereo subgroups or in-ear sends are in use, the AFLs can
be linked as a stereo pair by pressing both adjacent buttons at the
same time; when linked, the AFL appears as a stereo AFL in the
stereo wedge & phones outputs.
Rotary Output Section
Each of the 8 rotary master sections is equipped with a colourcoded
rotary fader, and AFL SOLO and MUTE controls.
Group to Mix Section
The group signal path, regardless of whether it is controlled by the
fader or not, can always be routed to the main mix busses using the
MIX and C switches and the PAN control.
Stereo FX Return with flippable EQ
Located above each group/aux output section is a stereo FX return
section. A line input from balanced rear panel jacks is fed via a 0-
10dB gain switch, via a stereo 3-band EQ section (see below) to a
rotary level fader. Illuminated PFL and MUTE switches are provided.
The stereo return signal can be routed to the main MIX and C
busses, or directly to the nearest pair of output faders directly below
the return. This gives a number of possible uses for the return in
addition to that of a standard FX return to the main mix:
In monitor applications when a pair of output faders will be
controlling a stereo in-ear feed, the return can provide an individual
reverb return for that mix only.
Alternatively, if all 8 subgroups are not being used in a FOH
application, the return can be routed to the output faders and then
to mix, allowing control of the return level by linear faders.
EQ
The 3-band EQ section is normally part of the FX return signal path,
in which case it operates as a stereo EQ. Alternatively, the EQ can
be flipped into the output fader signal path directly below it, using
the EQ TO O/P FDR switch, where it can be used to provide
additional sweetening on in-ear feeds or subgroups. In this case,
each EQ stage functions as a mono EQ, associated with the
corresponding output fader directly below it.
The EQ section comprises fixed shelving HF and LF bands, at 12kHz
and 60Hz respectively, with a swept mid band 350Hz to 3.5kHz. The
mid band Q is fixed at 1.1. 15dB of cut or boost is available on all
bands.
THE MASTER/MATRIX MODULE HOUSES THE REMAINING
4 AUX OUTPUTS, WHICH ARE ALWAYS CONTROLLED BY
FADERS, PLUS THE 4 MATRIX OUTPUTS, AND ALL THE
MASTER FACILITIES INCLUDING LCR MASTER FADERS,
MONITORING, TALKBACK AND SOLO CONTROLS. AT THE
TOP OF THIS MODULE, 12-SEGMENT LED BARGRAPH
METERS MONITOR THE OUTPUT LEVELS.
Aux 9-12 Outputs Section
Aux outputs from 9-12 have their own dedicated output section and
are always controlled by linear faders. Each fader feeds the aux
signal to balanced rear-panel XLR outputs. There is a pre-fade insert
point with separate jacks, and TB (osc), MUTE and AFL buttons are
provided. The 12-segment LED bargraph meters at the top of the
section normally meter the aux 9-12 outputs, but can be switched
to meter the matrix outputs 1-4 by pressing the MTX buttons below
the meters.
Matrix 1-4 Outputs Section
A 12x4 matrix section is located immediately above aux 9-12
outputs. Each of the 4 outputs has a rotary master fader, with TB
(osc), MUTE, and AFL buttons, and 12 receive knobs control the mixlevels fed to that matrix output from each of the 8 groups, the L,R and C main
outputs, and an external line input from a rear panel 1/4" balanced jack. The matrix
output signal itself appears on a balanced XLR on the rear panel.
The matrix capability can be expanded to 8 outputs if required, by fitting the optional
4 MTX + 4 input module, in place of an 8 channel input module.
Master Section The master section contains the main L, R and C output faders, alternate stereo mix
output, a noise or sine wave test oscillator, and internal/external talkback functions.
This section also contains the monitor and headphone outputs, 2-track return and
monitor source controls.
Main Output Faders Three 100mm high quality faders control the stereo mix L, R and mono (C) mix
output levels. These are fed to balanced XLRs on the rear panel. The C fader can be
used to control the monitors level for feeding wedges in a stage monitor application
by using the USE C FADER button.
Alternate Stereo Mix Output The ALT output is an additional stereo output, switchable pre or post the MIX master
faders and controlled by the ALT STE rotary fader. The outputs appear on balanced
XLRs on the rear panel. Both L and R outputs can be fed by a mono sum of the MIX
L and R signals using the MNO switch, effectively giving two fader controlled monosum
mix outputs.
Insert Points Pre-fade MIX L, R and mono (C)
insert points use balanced sends and returns on
separate 1/4" jacks on the rear panel.
Talkback and Oscillator Section
The talkback and oscillator sections share a common set of TB (osc) routing buttons,
allowing them to access any of the fader-controlled outputs and the matrix outputs.
The talkback section has a front panel XLR for mic input, with adjustable gain from
20-50dB (48V phantom power is available via an internal jumper). The mic signal
can be routed either to selected internal busses, by pressing the INT button, or sent
to a proprietary intercom output (compatible with Soundcraft MH4, Series FIVE and
SM-Series consoles) using the EXT button. The oscillator generates either tone from
55Hz to 11kHz or pink noise, and has its own independent balanced XLR output on the rear panel. It is routed to internal console busses by pressing both the OSC TO BUSSES switch and the local TB (osc) switches on the desired output.
PSU Status Indicators Three red PSU Status LEDs indicate normal PSU rail operation.
Monitor and Headphones Outputs Separate level controls are provided for engineer's monitor speakers and
headphones. The signal source for these outputs is common and can be selected
from the post-fade MIX signal, the mono (C) MIX signal (to both L and R outputs), or
the 2TK replay inputs, and may be summed by simultaneous selection if required.
These sources are automatically overridden by an input or output solo signal. The
level of the PFL or AFL signal can be adjusted by ±10dB using the PFL/AFL TRIM
control. The monitor level rotary control can be swapped with the centre output
master fader, by pressing the USE C FADER button adjacent to the rotary control. The
stereo monitor/phones signal can be summed to mono if required by pressing the
MNO button. The headphones output socket is a stereo 1/4" jack, discretely
mounted in a recessed socket in the fader panel fascia; the phones Volume control is
located adjacent to the socket. Three 24-segment LED bargraph meters read the
stereo and mono mix output levels. In the presence of a solo, the 'C' meter is muted and the LR meters show the solo signal. A clearly visible blue LED indicates the solo condition.
2-track Replay Input For replay of stereo tape, CD or minidisc sources, a rotary level control adjusts the
signal level from the balanced 1/4" jack stereo inputs. These can either be routed to the MIX bus with the MIX switch, or monitored on the monitor/phones outputs as described above.
DIMENSIONS & WEIGHT
Height All frame sizes 276mm (10.9")*
Width 24 Ch 1419mm (55.8")
32 Ch 1683mm (66.2")
40 Ch 1947mm (76.6")
48 Ch 2211mm (87.0")
56 Ch 2475mm (97.4")
Depth All frame sizes 813mm (32.0")
Weight 24 Ch 68 kg (150 lbs)
32 Ch 80 kg (176 lbs)
40 Ch 92 kg (202 lbs)
48 Ch 103 kg (227 lbs)
56 Ch 115 kg (253 lbs)
* Excluding optional meterpod
TYPICAL SPECIFICATIONS
TYPICAL SPECIFICATIONS
Frequency Response XLR Input to any Output.......................................... +0/-1dB, 20Hz - 20kHz
T.H.D. and Noise XLR In to Direct Out .......................................................... <0.015% @ 1kHz
(All measurements at +10dBu).........................................................................<0.02% @ 10kHz
XLR In to Mix Out .............................................................. <0.015% @ 1kHz
......................................................................................... <0.02% @ 10kHz
Height All frame sizes ................................ 276mm (10.9")*
Width 24 Ch ............................................. 1419mm (55.8")
32 Ch ............................................. 1683mm (66.2")
40 Ch ............................................. 1947mm (76.6")
48 Ch ............................................. 2211mm (87.0")
Input & Output Mic Input +26dBu max.
Levels Balanced Inputs +21dBu max.
Balanced Outputs +21dBu max.
Nominal Operating Level 0dBu
Crosstalk 1kHz,+20dBu input signals
Input Channel muting >95dB
Input fader cutoff >88dB
Input pan pot isolation >72dB
Mix routing isolation >100dB
Group routing isolation >99dB
Group-group crosstalk <-92dB
Group-Mix crosstalk <-100dB
Mix-group crosstalk <-100dB
Aux send off <-80dB
CMRR Mono input 85dB @ 1kHz
Input & Output Mic Input +26dBu max.
Levels Balanced Inputs +21dBu max.
Balanced Outputs +21dBu max.
Nominal Operating Level 0dBu
Input & Output Mic Input 2k&
Impedances All other Inputs >10k&
Headphone Output 0.33&
Recommended Headphone Impedance 4-600&
All other Outputs <75&
Oscillator 55Hz to 11kHz/Pink Noise,variable level
HP Filter (Mono Input) 30-400Hz,12dB/octave
EQ(Mono Input) HF................................................................ 1kHz - 20kHz,±15dB,shelving Hi-Mid................................................. 750Hz - 13kHz,±15dB,Q=0.5 - 3.0
Lo-Mid.................................................. 75Hz - 1.3kHz,±15dB,Q=0.5 - 3.0
LF................................................................ 30Hz - 500Hz,±15dB,shelving
Metering Internal 12-segment LED bargraphs for all inputs and outputs (24-segment for L/R/C outputs).Optional VU Meterpod: 8 VU meters monitoring O/P Faders 1-8/Aux 9-12/Matrix 1-4 via bank selection,and L/R/C
Power Consumption Mains Power: 56 Ch - 600VA max.,24 Ch - 300VA
48 Ch Console,each 17V rail takes 8.5A (nominal,measured with 4 Littlites connected) The 8V rail takes 0.2A (nominal)
Operating Temperature Range.................................... -10ºC to +30ºC conditions Relative Humidity....................................................................... 0% to 80%
Note: These figures are typical of performance in a normal electromagnetic environment.Performance may be degraded in severe conditions.All measurements refer to electronically balanced inputs and outputs with VCAs enabled.Input and output transformers may affect these specifications.
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