Soundcraft reserve the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter.E&OE 02/01
Any input to any output (measured at up to +50dB gain) +0/-0.5dB, 20Hz -20kHz
THD and Noise
High impedance I/P to Group or Mix O/P (measured at +20dBu output) Less than 0.005%THD@ 1kHzMic input EIN (22Hz - 22kHz bandwidth, unweighted) Less than -127.5dBu (150Ω source)Mix bus output noise (24ch routed) Less than -81dBu
Crosstalk (All measurements at 1kHz)
Channel muting and Channel fader attenuation Greater than 90dBChannel routing Greater than 85dB
Note: These figures are typical of performance in a normal electromagnetic environment.Performance may be degraded in severe conditions
722.80mm28.45"
795.80mm31.33"
110.
10m
m4.
33"
9.80
mm
0.3
8"
262.
28m
m10
.32"37
3.40
mm
14.7
"
Console shown with optional overbridge fitted
#10148 - k3 Theatre Brochure 13/2/01 11:34 am Page 1
Creative ControlThe world of professional soundreinforcement demands betterperformance and more facilities than everbefore. At all levels, whatever theapplication, engineers are looking for bothuncompromised sound quality andadvanced mixing features. This is whySoundcraft has created K3 Theatre.
This modular 8-bus mixer has been designedto satisfy today’s requirements for highquality mid-range sound reinforcementconsoles. That means advanced mute scenesetting and MIDI control, plus ‘big console’features, such as sophisticated and preciseEQ, input metering, an advanced solosystem, and eight pre/post auxiliaries. Ifyour monitoring requirements are morecomplex then you can team your K3Theatre up with Soundcraft’sSM12 monitor console, whichprovides the flexibility of14 foldback mixes.
K3 Theatre delivers anunprecedented degree of mixingcontrol in a versatile package that willintegrate into a wide range of live andinstalled sound situations. It offers anextensive range of frame sizes andmodules, enhancing the inherentversatility of a modular 8-busconfiguration.
But versatility is nothing without qualityto match – K3 Theatre is designed andengineered to Soundcraft’s customary highstandards. That means it’s built to last,with a rugged steel chassis protecting itscircuitry and no compromises in design orcomponent specification throughout. All
the rear panel XLRs are gold-plated andinside, the circuit boards employ advancedsurface-mount technology.
The compact frame with its low sightlinewill fit in almost anywhere, and ensuresexcellent visibility from the mixingposition. Larger K3 Theatre consoles, of24-channels and above, can be fitted withan optional meter bridge.
K3 Theatre is the latest in a line ofadvanced PA console designs, runningfrom the award-winning 200 Delta,
throughthe innovative andcost-efficient SM12 monitorconsole, to the class-leading Venue II. And,as with those popular standards, K3Theatre comes with the unique pedigree ofleadership in sound reinforcementtechnology that only Soundcraft candeliver.
CONTROL AND VERSATILITYOther advantages apart, K3 Theatreintroduces a unique MIDI and mutingsystem. 128 mute scenes, controllingmutes on all channels, groups and stereo
MORE CHOICEA wide range of options means thatK3 Theatre can be configured for avariety of needs, with a choice ofmono or stereo input modules, EQ orFX dual group output strips, MIDImodules, master output channels, anda powerful matrix section that allows a12x4 matrix to be fitted in the space of asingle input module.
THE PROFESSIONAL MIXING PEDIGREEDelivering all this in an elegant,ergonomically designed package, is no mean feat. But Soundcraft’s continuedsuccess through almost 25 years at thetop of the sound reinforcement businesshas only been possible through an
alliance of smart
design withadvanced manufacturing – acombination which guarantees that K3Theatre will fulfil the requirements ofthe most demanding production.
effects returns, are available at the touchof a button. Integrated MIDI control facilities allowthe user to select programs in externaleffects units automatically when a mutescene is selected, and the DataFaderprovides real-time fingertip control ofparameters via MIDI ContinuousController information. For the first time,a console in this class combines audioexcellence with truly integrated MIDIcontrol facilities.
8-bus routing allows convenientgrouping of channels, and there areadvanced solo facilities, based on those
found on
Soundcraft’s SM seriesof dedicated monitor consoles,which allow the engineer to quicklyisolate problems such as feedbacksources. Insert points, employingseparate jacks throughout for the optionof a fully balanced signal path, allowexternal processors to be inserted inchannels, groups and the mix busses.
K3 Theatre Brochure v3 31/7/97 11:23 am Page 3
K3 Theatre represents the next generationof mid-range PA consoles fromSoundcraft, offering the ultimate incontrol and quality. The modular 8-busdesign builds on the success of theaward-winning Venue II, providingoptions such as a choice of dual groupmodules, a stereo input module, and apowerful matrix module. K3 Theatre isdesigned for sound reinforcement mixingin a variety of situations, from installed ormobile theatre sound to presentations,audio-visual events, and live band concerthall front-of-house.
THE K3 THEATRE DIFFERENCEThe advantages of K3 Theatre becomeobvious as soon as the first source isplugged into the desk – whatever its level,the same XLR socket will take the signal viaK3 Theatre’s wide range input stage into the
channel strip; and a high impedance jacksocket is also provided. Input gain isadjusted by a Range switch and a singlerotary control. And phantom power onevery channel means that +48V DI boxesmay be connected with ease.
With K3 Theatre’s precise and powerful EQ,intelligibility and creative control areassured. All four bands are swept, with a
choice of shelving or bell characteristics forthe high and low frequency sections, andswitchable Q for both mid bands. A separatehigh-pass filter removes unwanted rumbleand mic popping and leaves the semi-parametric LF controls to be used creatively.
For maximum flexibility when setting upmonitor mixes and effects sends, all eightauxiliaries are pre/post switchable in pairs –K3 Theatre can always provide the rightcombination, at the touch of a button. Andindividual group output routing,independent of the pan control, completes achannel input strip designed for totalflexibility, allowing complex front-of-houseand monitor mixes to be controlled withease and confidence.
The advanced solo circuitry with AutoCancel and Solo Clear functions allows
quick and easy troubleshooting of acomplex mix. Solo-in-place is also provided,enabling the engineer to run through eachinput during a soundcheck and hear eachsource in its stereo position with anyassociated effects.
MIDI and mute control also offer advanced,yet accessible, facilities. Effects programs orinstrument patches can be changed at the
foyer, or a centralspeaker cluster inthe auditorium. Theoptional 12x4matrix modulemakes light work ofcreating sends to
multiple speaker stacks, and providingfoldback to on-stage and back-stage areas;the number of outputs is easily increased byadding further Quad Matrix modules. Inaddition, an optional line-level stereo inputmodule provides similar EQ and routingflexibility while saving yet more space. Andfor sub-group output, there is a choice oftwo dual group modules - one providingpowerful EQ, the other offering a stereo FXreturn with fader control. And additionaldual group modules can be employed toprovide fader controlled aux master sends,further enhancing K3 Theatre’s foldback andFX facilities.The K3 Theatre console is available in 16,24, 32, 40 and 48-channel frame sizes, witheight mono groups and eight auxiliaries. Thechoice of frames and modules means that adesk can easily be configured to match yourneeds and budget. And the managementcan rest assured that, with compact designand high module packing density, all thismixing power comes without the loss ofvaluable audience seating space.Above all, however, K3 Theatre bringsconfidence to the mixing process, withexcellent ergonomics. Illuminated switchesfor all critical functions, logical colourcoding of controls, LED channel metering,and an optional VU meterbridge, all go toensure that K3 Theatre consistently deliverstop quality live mixing results.
touch of a button,thanks to theintegration of MIDIwith the 128 mutescenes, controlling inputs,group masters and stereoreturns. Spot effects oratmospheres can be triggered via MIDI atthe moment a channel is un-muted. K3Theatre allows combinations of mutes ongroups of mics or instruments, handling thetoughest of live mixing challenges. Any liveevent, however, varies from night to night,and the real-time parameter controlafforded by the DataFader means that theoperator can respond to the all-importantdynamics of a performance. Precise real-time adjustments can be applied to anyparameter that can be placed undercontinuous MIDI control; such as reverbdecay to compensate for acoustic changes
between venues, or for decreasedreverberation time as the venue fills up.MIDI SysEx facilitates the saving andloading of MIDI and mute configurationsbetween individual productions.
Good routing is essential, especially withmulti-speaker sound systems. K3 Theatre’sMaster Module provides a mono mix bus forapplications such as a show relay in the
K3 Theatrewith optional meterbridge
K3 Theatre Brochure v3 31/7/97 11:45 am Page 5
K3 Theatre Modules and Rear ConnectorsInputThe K3 Theatre Input Module, as fitted tothe K3 Theatre, offers an advanced inputfacility for a single mic or line source. Ahigh-impedance jack and a balanced XLRinput are provided, with switchablephantom power to the XLR. The input ampemploys a padless design, with a rotarysensitivity control and Range switch thatenables the XLR input to accept signalsfrom -70dBu to +10dBu. Phase reverse isavailable.
Pre-EQ insert points are provided foradditional signal path processing, withseparate ground compensated send andbalanced return jacks.
The 4-band EQ section features four sweptbands, each with 15dB cut/boost. Both thehigh and low bands offer switchablebell/shelving operation, and the two midbands have a choice of two Q settings(1.3/2.6). The entire EQ section can beswitched in and out at the touch of abutton, and an additional high-pass filter isprovided for dealing with unwanted lowfrequencies.
The SOLO switch feeds the pre-fade, pre-mute signal to the monitor and phonesoutputs. Pressing solo cancels all othersolos or AFLs if Auto Cancel is active. Ifsolo-in-place is active, pressing SOLO willmute all other channels.
The channel can be muted via theelectronically latching CUT switch, which isalso used to assign the channel to a mutescene. Integral LEDs on the SOLO and CUTswitches make it easy to check whichchannels are active in the mix.
Individual rotary send controls are providedfor all eight aux busses, switchable in pairsbetween pre and post-fade operation.Internal jumpers allow the pre-fade signalto be post-mute, pre-mute, or pre-EQ/pre-insert. A DIR switch allows Aux1 to be re-routed to the channel direct output on therear panel.
The channel signal can berouted, via a 100mm faderand a pan control to thestereo mix bus, individuallyto the groups, and to themono bus. 8-segment LEDinput meter and a peakLED, adjacent to thechannel fader, provide anaccurate check on inputlevels.
Stereo InputThe Stereo Input Module provides inputfacilities for stereo line level sources in asingle-width module which may optionallyreplace any K3 Theatre Input. The stereosource is switch selected from two sets ofbalanced jack inputs on the rear panel. 3-band EQ is provided, with a swept midband. A WIDTH control provides extensivevariation in image width, from monothrough normal stereo (centre detented) tophase-enhanced wide stereo.
Solo and mute facilities operate as on themono channels.
The eight independent aux sends are post-fade mono signals, except for 7 and 8which can be switched by internal jumpersto stereo operation.
The channel signal is routed in stereo topairs of groups or the stereo mix bus via abalance control and the 100mm fader, or inmono to the mono bus. 4-segment LEDmetering is provided next to the channelfader.
Dual Group/EQ ModuleThe module contains two group outputsections, with integral metering, and two3-band EQ sections above the groupmaster faders. The module is intended tofunction either as a subgroup mastersection with group EQ or, alongside thenormal subgroup section on a console, as afader-controlled aux master section.
Insert send and returns are provided onseparate jacks, for additional processing ofgrouped signals. The group output appearson a balanced XLR.
Each EQ section features shelving high andlow bands, with 15dB of cut/boost at 60Hzand 12kHz, and a swept mid band covering250Hz to 4kHz.
The two group signals are controlled by100mm faders and can be routed to themix bus in stereo or mono. In stereo mode,odd numbered groups are routed to theleft mix bus and even numbers are routedright, whilst in mono mode both groups goto the centre of the stereo image.
20-segment LED bargraph meters provideaccurate monitoring of post fade outputlevels, and can be set via internal jumpersto peak or average response.
The AFL switch sends a post fade groupsignal to the monitor and phones outputs,with the same intercancel facility as onmono channels.
Mute facilities also operate as on monochannels, and may be assigned to mutescenes.
This compact 32-channel frame has been adapted to allow 40inputs, and is optimised for theatrical productions requiring ahigh degree of pre-recorded playback material. 24 mono andeight stereo line level inputs may be connected, to provideprecise control over individual on-stage microphones andinstruments, while saving space and cost in pairing the stereolines.
40 Inputs • 2 Stereo Inputs • 8 Dual FX Groups* • 1 MIDI Scene SetModule • 1 Master Module • 3 Quad Matrix Modules *4 used as AuxMasters
This fully-featured 44-channel theatre console includes inputs for 40 mono mic or linesources and two stereo inputs for playback machines. Eight groups with four stereo FXreturns are provided, as well as a 12 x 12 output matrix. The Auxiliary outputs utilisegroup-style output modules for use in critical foldback applications, providing insertpoints, fader control, metering and additional stereo returns. The compact frame ensuresthat the largest console will fit into a modest control space.
24 Inputs • 4 Dual EQ Groups • 1 MIDIScene Set Module • 1 Master Module • 1Blank Module
The basic configuration provides the operator witha compact, cost-effective 24-channel package withfour band mid-sweep EQ, stereo routing to groups,three band equalisation on group outputs and fullMIDI muting for inputs and groups, as well ascontrol of external devices, making this an idealchoice for installations where size is a priority.
40 Inputs • 4 Dual FX Groups • 1 MIDI Scene Set Module • 1Master Module • 1 Blank Module
This 40 channel touring configuration offers four-band swept mid input EQ,stereo routing and four segment LED input meters. An eight waymeterbridge is fitted, giving VU indication of Group, FX Return or Auxsignals. The 40-channel configuration gives a convenient split layout formultiple-act events.
InputStereo InputDual EQ Group
Dual FX Group
Master Module
MIDI Scene Set ModuleBlank Module
Quad Matrix Module
Meterbridge
K3 Pages to view 31/7/97 12:05 pm Page 1
Dual Group/FX ModuleThis module contains two identical groupoutput sections, plus a fader-controlledstereo input for effects returns oradditional line level sources. Like the DualGroup/EQ module, Dual Group/FX modulescan also be used to create fader controlledaux master sends, providing a stereoeffects send, return and metering in onemodule width. The pre-fade insert pointallows dynamics or other processors to beused across a section of the mix. Theoutput is on a balanced XLR connector.
Group output and metering facilities arethe same as on the Dual Group/EQ Module,though the meters can also be switched todisplay the stereo return signal.
The stereo return section features a WIDTHcontrol, as on the stereo input channels,enabling the operator to manipulate thestereo line source before routing to themix. 2-band shelving EQ, at 60Hz and12kHz, provides tonal balance control, andthe stereo signal is routed via a balancecontrol and a 60mm fader to any pair ofgroups, to the stereo mix bus, or in monoto the mix bus. Aux busses 1-4 can beaddressed from the stereo return, via tworotary send controls, switchable to 1 and 2or 3 and 4. Pre or post-fade status is set byinternal jumpers.
Full muting facilities are available on boththe group output and stereo return, withPFL or solo-in-place on the return and AFLon the group output.
MIDI Scene Set ModuleThe MIDI Scene Set Module contains all theK3’s facilities for internal muteconfiguration and external MIDI control.Up to 128 mute groups can be set up andselected from the front panel. In addition,the module can transmit a MIDI programchange message on any channel whenrecalling a scene, to change an effectsprogram, or select a new preset on anexternal device. MIDI control can alsooperate the other way around, using anexternal unit to select mute scenes orindividual channel cuts on the K3. Any ofthe 128 mute groups can be instantlyaccessed by each of the 8 scene recallbuttons.
The DataFader on the MIDI module givesaccurate control over almost anyparameter on a range of effects and otherunits, such as reverb depth or pre-delay,using MIDI continuous controllers. Anysingle controller on any channel may beassigned in this way for each cue.
A PREVIEW button is provided, whichallows the operator to visually check anyscene without forcing its operation.
Additionally, an ALL function allows acommon set of mutes to be copied to everyscene before individual adjustments andprograms are set. MIDI SysEx dumps in andout allow entire shows to be stored andrecalled.
Quad Matrix ModuleThe single-width Quad Matrix Moduleprovides facilities for distributing signals toa multiple speaker system which is,especially useful in theatre applications.Each matrix send can be fed from the eightsubgroups, from the mono and stereo mixbusses, and from a stereo external input atthe rear of each matrix module.
The external input can be set, by jumperson the PCB, either to feed a mono sumsignal to each matrix output or to feed theleft input to odd numbered outputs andthe right input to even numbered outputs.The slimline design of this module meansthat a full 12x4 matrix can be fitted into aconsole at the cost of only one inputmodule.
K3 Theatre consoles are fitted with oneblank module which may be used for thefirst Quad Matrix Module.
Outputs appear on individual balanced XLRconnectors; external inputs utilise balancedjacks.
Manual CUT and logic-controlled AFLbuttons are illuminated for ease of use.
Master Module The Master Module contains all controls for the stereo mix bus, monoand monitor outputs, plus master solo controls, oscillator, and 2-trackreturns. The stereo mix left and right signals are controlled by 100mmfaders, and appear on balanced XLRs at the rear panel.
The pre-fade master bus insert points employ a ground-compensatedsend and a balanced return, on separate jacks. The mono bus outputcan be controlled either by the right hand fader, with the left handfader providing stereo level control, or fixed at unity gain if the fadersare used as a regular L/R pair. The Fader Mode switch is recessedbelow the front panel.
Two 2-track returns, both electronically balanced, are provided on rearpanel jacks. Either can be routed to the post-fade stereo bus, via alevel control, and monitored by pressing the 2TRK button on themonitor output section before routing to the mix.
The advanced logic-controlled solo system offers PFL (pre-fade listen)on inputs and AFL (after-fade listen) on outputs. The summed signalsappear at the monitor and phones outputs, overriding the stereomaster signal that normally appears there. The Solo Clear buttonlights when any PFL or AFL is active – pressing it clears the solo.
When Auto Cancel is selected, selecting any PFL or AFL will cancel anycurrently active solo, so only one of these can be active at any time.Solo-in-place is also available via the SIP button, muting all channelsapart from that selected for solo. All channels can be protected frommuting in this way via internal jumpers.
Two 20-segment meters at the top of the module read the post-faderstereo mix output level, or the 2-track return input. A third metermonitors the post-fade mono level, and AFL or PFL signals.
The talkback section provides an XLR input for a dynamic mic.Talkback can be routed to groups or aux busses, or to another consolevia the talkback output XLR. 2-way automatic communication withanother Soundcraft console (eg. an SM12) is achieved via the externaltalkback in/out connections. The oscillator may be used to producepink noise or a sine wave, between 63Hz and 10kHz, in two ranges.
The eight auxiliary sends are each routed via a rotary control to abalanced jack on the rear panel. AFL is provided, and internal jumpersallow the rotary controls to be disconnected so that additional groupmodules can provide fader-controlled aux sends.
SM12- The stage partner of K3 TheatreFor situations where monitoring requirements arecomplex enough to require a separate console, theSM12 is designed as a stage partner for live mixerssuch as K3 Theatre. Offering 14 foldback mixes, itis the all-encompassing monitoring solution fortouring or fixed PA applications.
Soundcraft’s unique advanced solo system, as usedon the SM16 and SM24 consoles, speeds upsoundchecks with its logical method of operationand reduces the risk of feedback by quicklyisolating problematic sources. Every input channelfeatures a wide range XLR connector for mic or linelevel input, together with phantom power, phasereversal, and low frequency roll-off. The EQ sectionfeatures four sweepable bands, and the twelve auxsends are switched in pairs to be pre or post fade.
The SM12 is fitted with six dual output modules,each of which accepts an external input forsubmixing or FX returns. Meters are 16-segmentLED bar type and are selected internally to readeither peak or average. A phase reversal switch willcorrect non-standard wiring or help cancelfeedback on stage. The master module containscontrols for the stereo mix, engineer’s output, solosystem and talkback facilities. The engineer’soutput may be used in stereo or mono as required,and is controlled by a long-throw 100mm fader. Astereo mix is also provided, for use as a side fillsend or as a master L-R for front-of-house.
The SM12 is packed with features to ensure thatboth your monitor and front-of-house mixes areproduced to the highest possible standards.Whether you use your SM12 purely as a foldbackmixer alongside K3 Theatre, or as a front-of-houseconsole in its own right with outstandingmonitoring capabilities, your live sound will be inthe best possible hands.
K3 Pages to view 31/7/97 1:47 pm Page 3
K3 Theatre Block Diagrams
Input Module
Stereo Input Module
Quad Matrix Module
Aux Master Section Dual Group/FX Return Module
Dual Group/EQ Module
Master Module
K3 Pages to view 31/7/97 12:53 pm Page 5
EQ Curves+15dB
+12dB
+9dB
+6dB
+3dB
0dB
-3dB
-6dB
-9dB
-12dB
-15dB
10Hz 100Hz 1kHz 10kHz
LF Range27Hz - 500Hz
LMF Range70Hz - 1.1kHz
HMF Range400Hz - 7kHz
HF Range1kHz - 16kHz
EQ Amplitude (dB) vs Freq (Hz)
LMF/HMF EQ shown withHI-Q switches in and out.
LF and HF shown selected toBell and Shelf response
Console flightcases do not accommodate Power Supplies. For flightcases for consoles with meterbridges, please contact your appointed Soundcraft representative
All meterbridges provide eight output meters, switched between Aux, Group and Matrix.
The Mixing Console shall be of a fully modularconstruction available in 16, 24, 32, 40 and 48input frames. The mixing console shall provideeight auxiliary sends, eight mono subgroups, aswell as stereo and mono master outputs. A MuteScene Set system shall be included, enabling up to128 scenes to be stored and recalled, with eightinstant recall presets. The console shall beprovided with 4 Dual Groups, 1 Master Moduleand 1 MIDI Scene Set Module. Frames up to 40channels will be supplied with a separate PSM300or CPS275 19 inch rack-mounting Power Supply.48 channel frames shall be supplied with dualpower supplies. The Group Modules shall have achoice of stereo effects returns or dual EQ for theoutputs. There shall be a choice of Mono or StereoInputs as well as a fully flexible matrix system.
The Theatre Input Module shall have thefollowing features; an electronically balanced low-impedance input via an XLR socket and high-impedance input on a three-pole balanced jackwith a continuously variable gain giving asensitivity range of -2dBu to -70dBu (high gain range) and -20dBu to +10dBufor high level inputs, switchable 48V phantompower, a 100Hz filter and phase switch A by-passable 4-band semi-parametric equaliser shallbe provided with HF and LF controls switchablebetween shelving and bell response covering 1kHzto 16kHz and 27Hz to 500Hz and two mid-frequency controls covering the range of 400-7kHz and 70Hz to 1.1kHz with a switched Q of 1.3or 2.6. All bands shall have a cut and boost of15dB (centre detented). 8 auxiliary sends shall beprovided with individual level controls andpre/post fader switching in pairs with internalselection to pre-EQ, pre-mute and pre-insert. Aux1 shall be routable to the channel post fade directoutput. Routing to the 8 subgroups shall be viaindividual illuminated switches and switchablepan control which always feeds the stereo mix busvia the illuminated mix switch. Solo and Cutswitches shall control the main signal path andallow the prefade signal to be monitored at alltimes, or post-fade solo-in-place signal to bemonitored when the console is selected to thatmode. An 8 segment LED meter and a separate
peak indicator shall be provided, plus a PreviewLED to indicate the mute status of each channelfor the previewed scene. There shall be aselectable pre or post EQ insert point usingseparate send and balanced return jacks. Allconnectors shall be integral with the mainmodule. The Stereo Input Module shall have the followingfeatures; two switchable stereo line level sources onbalanced jacks with a continuously variable gainrange giving a sensitivity of -20dBu to +10dBu anda width control to vary the image from mono to aphase-enhanced stereo, a by-passable 3-bandequaliser with shelving HF and LF operating at12kHz and 60Hz and a mid control covering therange of 300-3kHz with a Q of 1, all controlshaving 15dB of cut and boost. Access to all eightauxiliaries shall be possible with paired switchselection of pre and post fader, with Aux 1-6 beingfed with a mono sum of left and right while Aux 7and 8 shall be internally selectable to be a stereopair. A 100mm fader, and illuminated Cut switchwith Preview LED, a stereo balance control androuting switches to the main mix and 8 subgroupbuses shall be provided. A Peak LED and illuminatedSolo switch will allow monitoring at all times.
Eight Group Outputs shall be provided, using anycombination of Dual Group/EQ and Dual Group/FXModules. The Dual Group/EQ Module shall behave; 2 x 100mm faders, illuminated Solo, Stereoand Mix switches to route the signal to monitorsor the main mix bus with a further option to routein mono or stereo. Two 20-segment LED peak oraverage reading meters shall monitor the groupoutput. A dual mono EQ shall be included with12kHz and 60Hz HF and LF controls and midcontrol covering the range of 250Hz-4kHz, allbands having a cut and boost of 15dB on a centredetented control. The Dual Group/FX Moduleshall contain 2 x 100mm faders, illuminated Solo,Stereo and Mix switches to route the signal tomonitors or the main mix bus with a furtheroption to route in mono or stereo. Additionallythe module shall provide a single stereo effectsreturn input. The stereo input shall have widthand balance controls, two-band shelving EQ, a60mm linear fader, routing to all 8 groups and themix busses, illuminated Cut and Solo switches and
two Aux sends providing access to either Aux 1and 2 or 3 and 4. The Master Module shall have 2 x 100mm masterfaders which may be selected to control L and R orL/R and Mono outputs, 8 rotary aux mastercontrols with associated AFL control, Solo Clear,Solo-in-Place and Auto Cancel selection, two 2-track returns, Talkback microphone socket andswitching, oscillator and monitor controls and 20-segment LED L/R master and Mono/PFL meters.
The MIDI Scene Set Module shall be capable ofstoring up to 128 scenes comprising channel andgroup mutes, MIDI Program changes andcontinuous controller number. A three-digit LEDdisplay shall be used to show scene number, MIDIchannel, controller number or program change forthe current or preview scene. Eight preset buttonsshall be used to assign instant recall scenes. APreview facility shall be provided which will displaythe mute status of the console for any scenewithout affecting the audio mutes. Presetting ofexternal devices shall be possible via MIDI ProgramChanges and Note On/Off data. One externaldevice parameter shall be continuouslycontrollable from a 60mm linear DataFader whichmay be re-assigned with every new scene.
The optional Quad Matrix Module may be fittedin any quantity and each output shall receive acontribution from each of the 8 groups, Mix L, Rand Mono, as well as an external input. Eachmatrix output shall be controlled by a rotarymaster fader with associated illuminated Cut andAFL controls, the output being electronicallybalanced.
The dimensions and specifications shall be aspublished on the rear cover of this brochure.
The console shall be theSoundcraft K3 Theatre.
Max Mic (+18dB)
+30
+20
+10
0dBu
-10
-20
-30
+30
+20
+10
0dBu
-10
-20
-30
Matrix Clip (+26dB)L/R/Mono Out Clip (+26dB)Input Clip (+30dB)Input Clip (+30dB)
Internal Clip (+20dB)
Group Out Clip (+26dB)
PFL
Balanced Insert (+4dB) Dir Out (+4dB/-2dB)
Gnd Comp Insert (-2dB)
Min Line (-40dB)
Min Mic (-70dB)
Min Line (-20dB)
Nom Line (+4dB)
Min Line (-20dB)
Nom Line (+4dB)
Nom Line (-10dBV)PFL PFL AFL
Group Out (+4dB)
Grp Insert (-2dB)
Aux Out (+4dB)2 Trk In(+4dBu)
2 Trk In (-10dBV)
Insert (-2dB)L/R/Mono Out (+4dB) Matrix Out (+4dB)
THEATRE/STANDARD INPUT MODULE STEREO INPUT MODULE FX RETURNS GROUP OUTPUTS 2-TRKINPUTS
AUXOUTPUTS
MASTEROUTPUTS
MATRIXOUTPUTS
Input Clip (+26dB)
INPUT MODULE STERE
#10148 - k3 Theatre Brochure 13/2/01 11:48 am Page 13
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