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User Guide v1.4
Vi3000 USER MANUAL
®
IMPORTANT INFORMATION
IMPORTANT INFORMATION
IMPORTANT
Please read this manual carefully before using your mixer for the
rst time.
This equipment complies with the EMC directive 2004/108/EC
and LVD 2006/95/EC
This product is approved to safety standards
IEC 60065:2001 (Seventh Edition) +A2:2010
EN60065:2002 +A1:2006 +A2:2010 +A11:2008 +A12:2011
UL60065 2012 7th Edition
CAN/CSA-E60065-03 + A2: 2012
And EMC standards
EN55103-1: 2009
EN55103-2: 2009
Warning: Any modication or changes made to this device, unless explicitly approved by
Harman, will invalidate the authorisation of this device. Operation of an unauthorised
device is prohibited under Section 302 of the Communications act of 1934, as amended,
and Subpart 1 of Part 2 of Chapter 47 of the Code of Federal Regulations.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in
a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio communications. However,
there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful
interference to radio or television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of the following measures:
* Reorient or relocate the receiving antenna
* Increase the separation between the equipment and the receiver
* Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
* Consult the dealer or an experienced radio/TV technician for help
© Harman International Industries Ltd. 2014 All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. 5042292
Rev 1.0
E&OE September 2014
Soundcraft is a trading division of Harman International Industries Ltd. 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. No part of this
manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic,
electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express
written permission of Soundcraft.
Harman International Industries Limited
Cranborne House, Cranborne Road, Potters Bar, Hertfordshire, EN6 3JN, UK
Tel: +44 (0)1707 665000
Fax: +44 (0)1707 660742
http://www.soundcraft.com
Vi3000 USER MANUAL: CONTENTS
®
CONTENTS
1.0 INTRODUCTION
1.1: Saftey Notices & Warnings
1.2: Product Warranty
2.0: SPECIFICATIONS
2.1: Console block diagram
3.0: QUICK START GUIDE
4.0: HARDWARE OVERVIEW
4.1: Local I/O
4.2: MADI / DANTE Sources / Switching
5.0 OPERATIONS OVERVIEW
5.1: Manual Conventions
5.2: Vistonics II
5.3: Console Bays
5.4: FaderGlow™
5.5: Buttons
5.6: Encoders
5.7: Gangs
5.8: Labelling
6.0: INPUTS
6.1: Navigation - Fader Pages
6.2: The Channel Strip
6.3: Encoder Mode
6.4: VST Control
6.5: Touchscreen / Signal Path
6.5.1: Input Section
6.5.2: EQ
6.5.3: Dynamics
6.5.4: Busses
6.5.5: Output Section
7.0: OUTPUTS
7.1: LCR Mix Masters
7.2:BusConguration
7.3: Bus Master Control
7.3.1: Master Vistonics Control
7.3.2: Channel Strip
7.3.3: Processing Chain
7.3.4: Graphic EQs
8.0: MATRIX SYSTEM
9.0: MUTE & VCA GROUPS
9.1: Mute Groups
9.2: VCA Groups
9.3: Aux VCA Groups
10.0: MONITORING
10.1: Console Controls
10.2: Setup
10.2.1: MON Setup
11.0: SOLO SYSTEM
11.1: Primary Behaviour
11.2: Input Priority Mode
11.3: Autocancel Behaviour
11.4: Follow Output Solo Mode
12.0: METERING
12.1: Inputs
12.2: Busses
13.0: EDIT SYSTEM
(COPY, PASTE, AND LIBRARY)
13.1: Copy, Paste, Undo
13.2: Library Basics
13.3: Library File Screen
14.0: SNAPSHOTS, CUELISTS, GLOBAL FILTER
14.1: Console Controls
14.2: Cuelist Control
14.3: Cue Details
14.3.1: Cue Number & Timecode
14.3.2: Snapshot/Cue Name
14.3.3: MIDI
14.3.4: GPIO
14.4: Snapshot Filters
14.4.1: Snapshot Filter Scope
14.4.2: Global Filter
15.0: TALKBACK & OSCILLATOR
15.1: Console Controls
15.2: Oscillator Setup & Use
15.3: Talkback Setup
15.4: Talkback Return Setup
16.0: MAIN MENU
16.1: Main (Screen, Security)
16.2: Shows
16.2.1: Show File Data
16.3: GPIO
16.4: Sync
16.5: Tielines
16.6: FX
16.7: MIDI
16.8: Log
16.9: Settings
16.10: System
17.0: LEXICON FX
17.1: Using The FX Processors
17.1.1: Tap Tempo Functionality
17.2: FX Algorithms & Parameters
17.2.1: Reverbs
17.2.1: Delays
17.2.1: Misc
18.0: VM² WIreless Status Monitoring / HiQnet
18.1:HiQnetNetworkConguration
18.1.1: VM ² Device List
18.2: Status Displays
18.2.1: Channel Strip Status
18.2.2: VST Status
Vi3000 USER MANUAL
®
1.0 1.0 Introduction
1.0: Introduction
New Look
The Soundcraft Vi3000 features an all-new appearance
with a more efciently designed control surface, 36
faders, 24 mono/stereo busses and a sweeping black
screen panel with four Vistonics II™ touchscreen interfac-
es with sleek, updated 3D graphics. Because the Vi3000
has four touchscreens, it’s the only console in its class
that can be used by two engineers at the same time. And
at show time... Settings libraries, copy/paste functions,
sophisticated automation and radio mic status monitoring,
FaderGlow™, processing from dbx, BSS, Lexicon and
Universal Audio (Optional Realtime Rack), and more will
not let you down.
SpiderCore DSP
The Vi3000 is a console with friends in high places.
Sound quality is assured by Soundcraft SpiderCore - a
brand new 40-bit oating point DSP engine that mixes
FPGA and DSP technology in a unique combination
that maximises I/O routing and DSP mixing capability
in a footprint small enough for inclusion within a control
surface.
FX
Internal FX come courtesy of 4 independent stereo
Lexicon multi effects units, each providing a choice of 14
reverbs, 7 delays and 8 pitch shifting effects, patchable
to input channels, aux outputs and channel inserts. BSS
third-octave Graphic EQ is available on every bus output,
with fader bays illuminating in red to indicate GEQ mode.
...And More FX
The Vi3000 can also accommodate the new Soundcraft
Realtime Rack, a hardware/software unit designed in col-
laboration with plug-in manufacturer Universal Audio that
provides access to 74 industry-standard UAD plug-ins.
DANTE As Standard
The Vi3000 is the rst Soundcraft console to incorporate
a Dante interface as standard, for seamless digital audio
networking with Dante-enabled devices.
Connectivity
In addition to a full complement of analog and digital in-
puts and outputs, the console provides MIDI, USB, Ether-
net, DVI out, Dante/MADI record feed outputs, redundant
power supply and other connections. The Vi3000 has two
expansion bays that can be tted with MADI Stagebox
cards, to connect multiple Soundcraft Stagebox input
expander modules.
Shine A Light
Along with its greatly expanded functionality, the Vi3000
retains all the features that have made the Soundcraft Vi
Series the consoles of choice for live sound engineers
worldwide, such as FaderGlow™ - illuminated faders that
display different colors according to function, the ability
to store and recall snapshots and cues, compatibility with
Soundcraft’s ViSi app that allows remote control from an
iPad.
Optional 64 channel stagebox
With up to 48 on-board mic inputs, Vi3000 is happy to
work with existing analogue multicore systems. Also
available is an optional remote stagebox housing 64
analogue mic/line inputs and 32 analogue line outputs,
with 48V phantom power and a 80Hz HPF before the A-D
converters. Mic amp gain can be controlled remotely from
the console surface.
Welcome To The Vi3000!
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
1.1 1.1: INTRODUCTION > SAFETY
1.1: INTRODUCTION > SAFETY
THIS UNIT MUST BE EARTHED
Under no circumstances should the mains earth be disconnected from the mains lead.
The wires in the mains lead are coloured in accordance with the following code:
Earth: Green and Yellow (Green/Yellow - US)
Neutral: Blue (White - US)
Live: Brown (Black - US)
As the colours of the wires in the mains lead may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is
marked with the letter E or by the earth symbol.
The wire which is coloured Blue must be connected to the terminal in the plug which is marked with
the letter N.
The wire which is coloured Brown must be connected to the terminal in the plug which is marked
with the letter L.
Ensure that these colour codings are followed carefully in the event of the plug being changed.
The internal power supply unit contains no user serviceable parts. Refer all servicing to a
qualied service engineer, through the appropriate Soundcraft dealer.
SAFTEY NOTICES
For your own safety and to avoid invalidation of the warranty
please read this section carefully.
Vi3000 USER MANUAL
®
1.1 1.1: INTRODUCTION > SAFETY
1.1: INTRODUCTION > SAFETY
WARNINGS
• Read these instructions.
• Keep these instructions.
• Heed all warnings.
• Follow all instructions.
• Clean the apparatus only with a dry cloth.
• Do not install near any heat sources such as radiators, heat resistors, stoves, or other apparatus
(including ampliers) that produce heat.
• Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
• Do not use this apparatus near water.
• Do not defeat the safety purpose of the polarized or grounding type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. When the provided plug does not
t into your outlet, consult an electrician for replacement of the obsolete outlet.
• Protect the power cord from being walked on or pinched particularly at plugs, convenience rececta-
cles and the point where they exit from the apparatus.
• Only use attachments/accessories specied by the manufacturer.
• Unplug this apparatus during lightning storms or when unused for long periods of time.
• Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been
damaged in any way such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally or has been dropped.
• Use only with the cart, stand, tripod, bracket or table specied by the manufacturer, or sold
with the apparatus. When the cart is used, use caution when moving the cart/apparatus combination to
avoid injury from tip-over.
• No naked ame sources, such as lighted candles or cigarettes etc., should be placed on the
apparatus.
• Warning: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture.
Do not expose the apparatus to dripping or splashing and do not place objects lled with liquids, such
as vases, on the apparatus.
• No user serviceable parts. Refer all servicing to a qualied service engineer, through the appropri-
ate Soundcraft dealer.
• Ventilation should not be impeded by covering the ventilation openings with items such as
newspapers, table cloths, curtains etc.
• It is recommended that all maintenance and service on the product should be carried out by Sound-
craft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage
caused by service, maintenance or repair by unauthorised personnel.
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
1.2 1.2: INTRODUCTION > WARRANTY
1.2: INTRODUCTION > WARRANTY
WARRANTY
1 Soundcraft is a trading division of Harman International Industries Ltd.
End User means the person who rst puts the equipment into regular operation.
Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, pro-
vided such a person is authorised for this purpose by Soundcraft or its accredited Distributor.
Equipment means the equipment supplied with this manual.
2 If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove
defective by reason only of faulty materials and/or workmanship to such an extent that the effectiveness and/or
usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer
or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defec-
tive components. Any components replaced will become the property of Soundcraft.
3 Any Equipment or component returned will be at the risk of the End User whilst in transit (both to and from the
Dealer or Soundcraft) and postage must be prepaid.
4 This warranty shall only be available if:
a) The Equipment has been properly installed in accordance with instructions contained in Soundcraft’s manual.
b) The End User has notied 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; and
d) The End User has used the Equipment only for such purposes as Soundcraft recommends, with only such
operating supplies as meet Soundcraft’s specications and otherwise in all respects in accordance Soundcraft’s
recommendations.
5 Defects arising as a result of the following are not covered by this Warranty: faulty or negligent handling, chem-
ical or electro-chemical or electrical inuences, accidental damage, Acts of God, neglect, deciency in electrical
power, airconditioning or humidity control.
6. The benet of this Warranty may not be assigned by the End User.
7. End Users who are consumers should note their rights under this Warranty are in addition to and do not affect
any other rights to which they may be entitled against the seller of the Equipment.
Vi3000 USER MANUAL
®
2.0 2.0:Vi3000Specications
2.0:Vi3000Specications
Frequency Response
StageboxorLocalMicinputtoLineoutput +0/-1dB, 20Hz-20kHz
AES/EBUIntoAES/EBUOut +0/-0.2dB, 20Hz-20kHz
T.H.D. & Noise
(22Hz-22kHz, unweighted)
StageboxorLocalMicIn(mingain)toLocalLineOut <0.004% @ 1kHz
StageboxMicIn(maxgain)toLocalLineOut <0.035% @ 1kHz
Mic Input E.I.N. <-127dBu (150Ω source)
(22Hz-22kHz bandwidth, unweighted)
Residual Noise -95dBu
(Stagebox line output; no inputs routed, Mix fader @0dB)
CMRR 80dB @ 1kHz
(Stagebox Mic input)
Sampling Frequency 48kHz
Latency < 2ms @48kHz
(Stagebox Mic Input to Local Line output)
AES/EBU Input Sample Rate 32–108kHz (with SRC enabled)
DSP Resolution 40-bit oating point
Internal Clock
Accuracy < +/- 50ppm
Jitter < +/- 2ns
Vi3000 Specications
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
2.0 2.0:Vi3000Specications
2.0:Vi3000Specications
External Sync BNC Wordclock, Dante network clock
Input & Output Levels
Mic/lineInputs +28dBu max
LineOutputs +22dBu max
NominalOperatingLevel +4dBu (-18dBFS)
Input & Output Impedances
MicInputs 2k7Ω
AllotheranalogueInputs >10kΩ
LineOutputs <75Ω
AES/EBUOutputs 110Ω
Oscillator 20Hz to 20kHz/Pink/White Noise, variable level
Channel Filters
MicInHPFilter 80Hz xed, 12dB per octave
ChannelHPFilter 20Hz-600Hz, 18dB per octave
ChannelLPFilter 1kHz-20kHz, 18dB per octave
EQ (Inputs and Bus Outputs)
HF 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving
Hi-Mid 20Hz-20kHz, +/-18dB, Q=0.3-8.7
Lo-Mid 20Hz-20kHz, +/-18dB, Q=0.3-8.7
LF 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving
Metering Internal 20-segment LED bargraphs plus 9-segment gain reduction meters for all inputs and
Outputs Peak hold variable from 0-2s.
Mains Voltage Operating Range 90-264V, 47-63Hz, auto-ranging
Vi3000 USER MANUAL
®
2.0 2.0:Vi3000Specications
2.0:Vi3000Specications
Mains Power Consumption
Console 300W (both PSUs operating)
Stagebox(64in/32out) 150W (both PSUs operating)
Internal Mass Storage 120GB SSD Hard Drive
Temperature/Humidity Range
OperatingTemperatureRange 0°C – 45°C (32°F – 113°F)
RelativeHumidity 0% – 90%, non-condensing Ta=40°C (104°F)
StorageTemperatureRange -20°C – 60°C (-4°F – 140°F)
Weight 54kg
Soundcraftreservestherighttoimproveorotherwisealteranyinformationsuppliedinthis
documentoranyotherdocumentationsuppliedhereafter.E&OE05/2014
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
2.1 2.1:Vi3000BlockDiagram
2.1:Vi3000BlockDiagram
INPUTS
INPUT CHANNELS / MATRIX MASTER / MIX / MONITORING
OUTPUTS
PHASE
TRIM
GATE/Dees
EQUALI ZER
4 band param
DYNAMIC
Limit er
Compressor
FADER PAN
MASTER R
MIX or MTX 1
MASTER C
MIX or MTX 24
SOLO L
SOLO R
1.0 19.05.14MUS
Regensdorf
Switzerland
Vi 3000
Audio Block Diagram
(Based on Vi 6 Audio Block Diagram V0.748)
PHONES LEFT
MON_A LEFT
MONO INPUT
CHANNEL 1 to 96
D
D
A
E
S
U
S
B
T
B
H
P
A
E
S
U
S
B
T
B
H
P
d
A
D
M
I
C
/
L
I
N
E
L
O
C
A
L
I
/
O
a
MASTER L
#
OSCILLATOR
MASTER LEFT
MASTER
MIX/MTX SOLO
INS SEND
GUI OUT Meter
DYN
MIX or MTX 2
BUS FEED 1
Dante or MADI (IN)
MIX 1
I
N
S
PATCH PATCH
DIR OUT 96
TB to BUS / MTX / EXT
MIX 24
DIR OUT
ON
AF
PF
SOLO R
Follow/
Bundle
P SOLO
to MTX
MASTER L
MASTER R
WHITE NOISE
SINUS
PINK NOISE
OSC
WCLK
CLOCK
48k
9..16
9..16 17..24
DELAY
PP
AF
PF
PP
AF
PF
PP
GRM
LEVEL
PROCESSING
SC/ES
SOLO
OSC to TB
OSC
TB
3
SEL
A
TB from ext
Delay
MASTER L
MASTER R
MASTER C
INP 1
INS RET
KEY
MIDI
IN
SOLO
EQUALIZER
4 band
DYNAMIC
Limiter
Compr essor
I
N
S
FADER DELAY
I
N
S
ON
PF
AF
AON
PF
AON
GUI IN Meter
1..8
1..8 17..24
25..32
33..40 41..48
49..57 58..64
MON_A CENTER
MON_A RIGHT
PHONES RIGHT
Delay
Delay
Delay
Delay
MON Delay
0..2000 mS
SOLO TRIM
BUS 1 BUS 24IN
MON_B LEFT
Delay
MON_B RIGHT
Delay
IN/OUT
SOLO
Enable
+
+
+
+
+
+
BLEND
SEL
B
SEL
HP
+
Left
Right
Center
Left
Center
Right
MON_A_Source
+
MON_HP_Source
MON_B_Source
MON_A_Source
MON_B_Source
MON_HP_Source
3
3
3
3
3
MASTER CENTRE
TB
DIM
TB
DIM
+
+
TB from ext
ST
LINK
MIX BUS 1
MIX BUS 24
Left
Center
Right
+
+
LINK (ST)
to CH Dyn
of same
Bay A/B
INP 2
OSC
S
E
L
I
N
S
OSC
SEL
TB
TB_SRC
TB_MI C
LR/
RR/
LL
LR/
RR/
LL
LR/
RR/
LL
ON
ON
[+/- 10 dB]
[-inf..- 10 dB]
MON FADER
MONITOR_A
MONITOR_B
MONITOR_HP
ON
MNTR B
TIE LINE 24
TIE LINE
24
IN/OUT
SOLO
Enable
IN/OUT
SOLO
Enable
TB SEND
TB to EXT
24
MIX BUS 1
GATE
GUI
INS SEND
INS SEND
LEVEL
TB RET
+
+
+
+
TB EXT
+
+
+
+
-15
sidet one
to MTX
to MTX
GRM
TB
DIM
TB
DIM
TB
DIM
TB
DIM
MASTER L
MASTER R
MASTER C
SOLO L
TRIM
TRIM
BUS FEED 24
MIX BUS 24
MASTER L
MASTER R
MASTER C
Logic
A or B
SOLO pre TRIM
Source pre BLEND
ENAB A/B
PAD
D
D
D
D
USB
A
D
D
D
SFC
d
D
D
SFC
d
D
D
USB
D
A
a
LINE OUT LOCAL I/O
LOW
&
HI
CUT
AFL
PFL
LOW-
CUT
I
N
S
Dees
To MTX
to MTX
SOLO
EQUALIZER
4 band
DYNAMIC
Limiter
Compr essor
I
N
S
FADER DELAY
I
N
S
ON
PF
AF
AON
PF
AON
INS SEND
LEVEL
GRM
TRIM
LOW-
CUT
I
N
S
MASTER RIGHT
to MTX
SOLO
EQUALIZER
4 band
DYNAMIC
Limiter
Compr essor
I
N
S
FADER DELAY
I
N
S
ON
PF
AF
AON
PF
AON
INS SEND
LEVEL
GRM
TRIM
LOW-
CUT
I
N
S
MASTER C
MIX or MTX 1
SOLO
EQUALIZER
4 band
DYNAMIC
Limiter
Compr essor
I
N
S
FADER DELAY
I
N
S
ON
PF
AF
AON
PF
AON
ST
LINK
INS SEND
LEVEL
GRM
TRIM
LOW-
CUT
I
N
S
MIX or MTX 24
SOLO
EQUALIZER
4 band
DYNAMIC
Limiter
Compr essor
I
N
S
FADER DELAY
I
N
S
ON
PF
AF
AON
PF
AON
INS SEND
LEVEL
GRM
TRIM
LOW-
CUT
I
N
S
I
N
S
MTX 1
MTX 24
MTX 1
MTX 24
MATRIX
SEL
MTX
1
SEL
MTX
24
24
MTX 1_SRC
24
MTX 16_SRC
ON
PE
PE
65..72
73..80 81..88 89..96
ON
ON
ON
OUT
Dante
FX
LEX 1
LEX 2
LEX 3
LEX 4
d
64
Dante and MADI (OUT)
d
64
D
D
64
D
D
D21m compatible expansion
slot
x
64
X
D
X
64
64
D21m compatible expansion
slot
x
D
X
64
X
64
8
Up to 3 cards with 16
Channels per card
a
D
D
8
d
a
p
Up to 3 cards with 16
Channels per card
16 16
D21m compatible expansion
slot
x
64
X
D
X
64
D21m compatible expansion
slot
x
D
X
64
X
64
Vi3000 USER MANUAL
®
3.0 - 1 3.0 QUICK START
3.0 QUICK START
Quick Start Guide
This chapter is a pictorial guide through the main concepts and functionality of the Vi3000 console.
Subsequent chapers go into these functions in more detail.
Console Sections
Vistonics II
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3.0 - 2 3.0 QUICK START
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Buttons And Encoders
Ganging
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Inputs & Controls
Input Channel Access
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Fader Pages
Output Assignment
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Outputs & Control
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3.0 - 6 3.0 QUICK START
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Monitoring
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Copy, Paste, Move, LIbrary
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Snapshot & Cuelist
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Main Menu System
Lexicon FX
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4.1 4.1: Hardware > Local I/O
4.1: Hardware > Local I/O
Most of the Vi3000 local I/O is located on the rear panel of the console. The main I/O slots have a variety of possible
congurations, inlcuding digital (AES) and analogue input and output cards. However, the monitor / masters output
section cannot be changed - this contains the xed-routing Monitor A and Monitor B outputs, plus the master LCR
analogue outputs.
There are also user-congurable D21m I/O expansion slots that can accept any of the available Soundcraft D21m
compatible I/O cards. Options for these include MADI (Optical or CAT 5), ADAT, Blu Link, Aviom, Ethersound, Co-
branet, Line in, line out, AES/EBU, and mic in. The D21m IO Expansion slots are also used for connecting a Sound-
craft Stagebox.
Fixed I/O on the rear panel includes all data/digital connections such as MIDI, USB, HiQnet, AES I/O, DANTE, MADI,
Word Clock, and DVI Out, plus the dual redundant power supply connections.
There are also two 12v lamp connections.
The control surface of the console features two additional USB sockets and a talkback microphone XLR connection.
Hardware - Local I/O
Main I/O Slots
The main local I/O slots.
The monitor / masters output section cannot be changed
(bottom left of the main picture) as this contains the
xed-routing Monitor A and Monitor B outputs, plus the
master LCR analogue outputs.
Conguration options for the other slots are: 32 mic in/32
line outs, 48 mic in / 16 line out (the upper line out card
is replaced by a mic in 33-48 card), 16 mic in / 16 in 16
out AES / 16 line out (the mic in 1-16 card is replaced by
a blank, the upper line out module 1-16 is replaced by a
16 in 16 out AES module).
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4.1 4.1: Hardware > Local I/O
4.1: Hardware > Local I/O
PSU / Power
Sockets
There are two mains
inputs for seamless re-
dundancy for those that
require it. The IEC inlets
can accept AC inputs
from 100V to 240V.
Either socket can be used for a single supply. if both are
used then one is a backup. The two sockets are labelled
PSU1 and PSU2, corresponding to indicator lights on the
Menu-System-Local page. The colour of this indicator,
and the power button on front panel of the console, indi-
cates the state of these PSUs: RED if only one of them
is on, and GREEN if both are on.
Power
Switches Inactive Active
There is a power switch
for each of the power
supply inputs. Both
need to be on for the
dual redundancy switch-
ing to be effective.
Power off Power on
DVI (Digital
Video) output
For future use.
MIDI In / Out
5-Pin DIN connectors
for MIDI compatible
equipment only.
USB
The console USB con-
nections ca be used for
connecting an external
keyboard or for USB
storage devices.
HiQnet
Interface
XLR-housed EtherCon
connector for HiQnet
network connection.
For details on HiQnet setup, please refer to reference
chapter 18.
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4.1 4.1: Hardware > Local I/O
4.1: Hardware > Local I/O
AES I/O
2 x 3-pin XLR AES (two-
chanel) digital audio
input and output.
4 channels of AES/EBU format outputs and 4 channels
of inputs.
AES 1-2 and 3-4 Input sockets have associated green
condence LEDs that indicate a valid sync signal is
present.
DANTE
Input and output
Interface ports for a
a DANTE (Audinate)
digital audio network.
Please note, the Vi 3000 MADI local MADI and DANTE
ports share an input and so are exclusive. That is, you
can choose either a local MADI or DANTE input. The
outputs are 'parallel' and a work concurrently. The choice
between the MADI and DANTE inputs is determined by
the DANTE/MADI global switch in the Setting tab of the
main menu - accessed with the [MENU] button.
MADI I/O
Input and output Inter-
face ports for connec-
tion to/from MADI-com-
patible equipment.
Please note, the Vi 3000 MADI local MADI and DANTE
ports share an input and so are exclusive. That is, you
can choose either a local MADI or DANTE input. The
outputs are 'parallel' and a work concurrently. The choice
between the MADI and DANTE inputs is determined by
the DANTE/MADI global switch in the Setting tab of the
main menu - accessed with the [MENU] button.
Connections are via multimode SC connectors.
Wordclock I/O
Outputs console
wordclock or syncs to
external wordclock at
48kHz.
Talkback Mic
48V Inactive Active
Switch to apply 48V
phantom power to the
talkback mix input on
the top panel of the
console.
No Power
phantom
powered
D21m Slots
D21m Slots, labelled
slots I, J, K, and L.
These card slots can be used for any available D21m
option cards of which there is a large range including
MADI (Cat 5 or Optical) Stagebox connection, ADAT
(16ch single slot), Blu Link (32ch single slot), Aviom (16
ch single slot), Ethersound (64ch double slot), Cobranet
(32ch single slot), Line in (8ch single slot), line out (8ch
single slot), AES/EBU (16ch double slot), and mic in (4ch
single slot).
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4.2 4.2: Hardware > DANTE / MADI Switching
4.2: Hardware > DANTE / MADI Sources
The Dante/MADI interface gives the Vi3000 a lot of exibility for recording shows, Virtual Soundchecking or interfacing
with third party MADI or Dante-enabled equipment such as signal routers or system processors.
The interface comprises an input (64ch) in each format and an output (64ch) in each format. The outputs are fed by a
common signal source which is available to any channel or bus via the Dante/MADI buttons within the Local tab of the
console’s output patching matrix. The patched signal is fed to both Dante and MADI outputs simultaneously.
The inputs are selectable using a global switch in the Menu-Settings page of the console to choose either the Dante or
the MADI port as the active input. Whichever of these is selected will appear in the Local tab of the input patch matrix
in the console and will be labelled Dante or MADI as appropriate. Only one input can be used at a time.
Recording
64ch recording/replay is possible via the MADI interface using a third-party MADI interface such as RME MADIface,
in most cases the recording software can be set to take its clock source from the console’s MADI stream. Alternatively
the console’s Wordclock Out can be used to drive the recording software or router, or the console can be slaved to the
other equipment’s clock via Wordclock In.
Alternatively, 64ch recording/replay can be achieved via the Dante port, by simply installing a copy of the Dante Vir-
tual Soundcard driver (DVS), available from the Audinate website. A free one-off license token is included with every
Vi3000 console -see the documentation packaged with the console. The license token number is used on the Audi-
nate website to enable the issuing of a license key code which is then entered into the DVS boot screen to unlock the
software. Dante Virtual Soundcard is available in PC and Mac formats and allows the the standard ethernet port on the
computer to become visible as a 64ch input/output low-latency audio interface from any audio recording or processing
software.
Interfacing to another Dante-enabled device or network
The Dante interface allows connection to any other Dante-enabled device, either directly or via a network switch,
and using either normal or redundant connections depending on how the primary and secondary Dante ports of each
device have been congured. Although the patching of signals to/from channels or busses in the console is done via
the console’s patch matrix, the routing of those 64 in and out signals within the Dante network has to be set up using
a free software application called Dante Controller, available from the Audinate website and running on either a PC or
Mac external computer. Using this software it’s possible to make connections on an individual channel basis between
the Vi3000’s 64ch Dante interface and all other Dante equipment on the network.
DANTE / MADI Interface and switching notes
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4.2 4.2: Hardware > DANTE / MADI Sources
4.2: Hardware > DANTE / MADI Sources
Syncing with Dante equipment
Detailed setup of Dante network is beyond the scope of this User Guide (see user-guide documentation for Dante
Controller software for more details), but it important to understand the concept of synchronisation within a Dante net-
work, even if there are only two devices in the network. In any audio network there must be one device acting as clock
master, the others are then slaves. In the Dante network, this device is known as the Primary Master. There can also
be secondary masters - these are devices that are normally slaves but will take over the role of Master clock should
the designated Master fail or be disconnected from the network. The status Primary/Secondary Master/Slave must be
set for each device, including for the Vi3000, using external Dante Controller software - it cannot be done from within
the console’s software. (Note: The Vi3000’s Dante interface is set as factory default to act as Primary Master).
The status of the Vi3000’s clock cong must be setup to work correctly with the Dante interface, depending on whether
the console is acting as Master or Slave on the network:
Console acting as Primary Master Select INT 48kHz clock in Menu-Sync page of console. Check ‘Slave to ext
wordclock’ in Dante Controller software for Vi3000 Dante interface
Console acting as Slave on Dante
network.
Select DANTE external clock in Menu-Sync page of console. Check ‘Slave to
ext wordclock’ in Dante Controller software for Vi3000 Dante interface.
Note: The option ‘Slave to External Wordclock’ in Dante Controller software is confusingly named as far as Vi3000 is
concerned, it actually refers to whether the Dante interface itself within the Vi3000 is locked to an ‘external’ clock - in
this case meaning the INTERNAL w/clock of the Vi3000 itself. If the Slave to Ext Worclock box is NOT checked, then it
means the Dante I/F will sync to network clock, ie the clock of the Primary Master.
See Chapter 16: Main Menu, Sync page for further info.
5.0 5.0 Operations Overview
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5.0: Operations Overview
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5.1 Operations Overview > Conventions
5.1: Conventions And Colours
This manual, and the console uses certain conventions to make things signicantly easier for the user. This includes
the unique FaderGlow technology that can dynamically colour code console faders depending on their current assign-
ment.
Conventions used in this manual
Three types of brackets are used to indicate the type of control being refered to.
[ ] is used to indicate a panel-mounted key or encoder.
{ } is used to indicate a Vistonics™ (VST) key or encoder.
( ) is used to indicate a button on a touch-screen.
COLOURS
The following table shows colours used in the VISTONICS screens, and in the headers and footers of the pages in this
manual:
Audio Processing
Input Functions Blue
Equaliser Red
Filter Blue
Gate,Comp,Lim,De-
ess
Green
Pan, Dir Out, Insert Yellow
Oscillator Gold
Monitoring Lilac
Busses
Aux Orange
Audio Group Green
Matrix Cyan
VCA/MG Indication
VCA 1..8 Blue
VCA 9..16 Pink
Aux VCA Master 1..16 White
Mute Group Red
Patching & Misc
Input Patch Blue
Output Patch Red
5.2 5.2 Operations Overview > Vistonics II
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5.2 Operations Overview > Vistonics II
5.2: Visonics Overview
Vistonics II is a unique control and display technology derived from the Studer Vistonics technology and exclusive to
Soundcraft. The Vi3000 uses Vistonics II as a core technology for console operation because of its signicant user-in-
terface benets.
The Vistonics screens are divided into two main areas. The top section is the touch screen area and serves a number
of functions. For instance, in the default input chanel mode, the input touch screens show the Input, EQ, Dynamics,
Bus outputs, and panning sections of input channel strip. Touching one of these opens that channel section onto the
Vistonics VST area.
The VST area is the lower section of the Vistonics screens, each with two rows of eight VST Fields. Each VST Field
contains an encoder, a button, and a display area. VST Fields are normally used for individual parameter control. For
instance, the default input Vistonics screen uses the upper row of encoders to control a channel’s contribution level to
the Aux 1 bus, and the upper row of buttons to turn those contributions on and off.
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5.2 Operations Overview > Vistonics II
Buttons On/Off
If a function is assigned to a button it is displayed as shown. The 'active' state shows
the button highlighted in a lighter colour.
Open Touch
Page
If the button can open a conguration page in the Touch area it shows a '+' sign on
the button. If the conguration page is already open, the button will be labelled with a
'-' sign. Pressing the button in that state will exit the conguration page.
Inactive Fields
If an audio function block is disabled, with the background of the eld changed to
grey, the button indication will change to a darker colour.
5.3 5.3 Operations Overview > Console Bays
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5.3 Operations Overview > Console Bays
5.3: Console Bays
The Console is divided into four main bays. Counting from the left, the rst, second, and fourth bays are Input Bays.
The third bay is the Master Bay.
Input bays normally control input channels, however, they can have other functions mapped to them depending on
how the console is being used. For example, you can map the bus masters, graphic EQ bands, matrix mix sources,
aux bus contribtions, and more to the input faders.
The input bay vistonics touch screen areas normally show eight channel-strip processing blocks for the eight corre-
sponding faders. You can touch those processing blocks to focus the VST section (bottom part of screen populated
with encoders and buttons) on that selection.
The input bay VST areas normally show Aux 1 and 2 contributions, though the functions of these encoders are also
determined by the input channel VISTONICS button group.
The Master Bay contains asignable faders for the bus masters, plus the mix master (L, R, C) faders and the assigna-
ble monitor fader.
The Master Bay touch screen default display is an overview of metering for all input and output channels, as well as an
as system message area and cue list.
The Master Bay VST area’s default mapping is the rst 16 bus masters. The next eight masters can be accessed with
the [PAGE 2] button in the Master Bay VISTONICS button group.
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5.3: Console Bays - Input Bay 3 Navigation
The Master Bay touch screen meters can be used as a navigation device - simply touch a block of eight meters and
those channels (both inputs and outputs) are mapped to the right-hand input bay. This is excellent for fast access and
for dual operator scenarios.
5.4 5.4 Operations Overview > FaderGlow™
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5.4 Operations Overview > FaderGlow™
5.4: FaderGlow™
Soundcraft FaderGlow™ (Pat. Pend.) is a unique feature that gives the user an additional level of status indication,
and can signicantly reduce operating errors.
On the console, several different functions can be assigned to a particular fader, it can therefore be easy to forget
which function is currently being controlled, especially when grabbing a fader in a hurry. The main principle of Fader-
Glow is therefore to indicate the actual function type that is currently assigned to a particular fader. Soundcraft Fader-
Glow is tted to all 32 Faders that can change their function.
FADER OPERATION Soundcraft FaderGlow™ COLOUR
Channel level NONE
AUX send level ORANGE
GRP (fader closed) GREEN
MTX contribution level CYAN
VCA Master 1..8 BLUE
VCA Master 9..16 PINK
Aux VCA Master 1..16 WHITE
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5.5 Operations Overview > Buttons
5.4: Buttons
There are a wide variety of button groups on the Vi3000. Below are described all button groups and selected individual
buttons. Please refer to the relevant reference section for detailed information on the operation of all buttons.
Most buttons on the console can be latching (stay on) or Momentary (on when pressed, off when you let go) If you
hold a button down it will have a momentary action. If you press a button and let go within half a second it will ‘latch’.
System Button Group
[MUTE ALL O/P] (Mute All Outputs) and [POWER ON] buttons.
Edit Button Group
[COPY], [PASTE], and [UNDO] buttons.
These are used for copying and pasting whole channels, processing blocks, and individual pa-
rameters either elsewhere on the console or to and from the console’s powerful library system.
For more information see the Edit System reference chapter 13.
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5.5 Operations Overview > Buttons
Input Channel VISTONICS Group
The input channel VISTONICS control buttons provide convenient ways of assigning bus
master functions to the input channel VST encoders, such as selections for individual bus ‘tap’
points, and getting the input bus contribution shown on the VST screen to follow the master
bus selection in the Master Bay.
For more information, see the Inputs reference chapter 6.
Output Vistonics Group
These buttons provide control over the VST section functionality of the Master Bay vistonics
screens. For example, the [PAGE A] and [PAGE B] buttons switch the encoder section of
the screen between busses 1-16 and 17-24. For More information, see Outputs Reference
chapter 7.
Encoder Mode Buttons
These buttons assign various functions to the input channel strip encoders. For more informa-
tion see the Inputs reference chapter 6.
Mute & VCA Groups
Control and assign the four mute groups and available 16 VCAs. For more information see the
Mute & VCA Groups reference chapter 9.
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Input Fader Pages
These buttons control navigation through ve basic input channel Pages/Layers, including the ‘All
Busses’ view, plus ve user-denable pages. These buttons only affect the three input channel
bays. For more information see the Input Channels reference chapter 6.
Output Fader Pages
Navigate through eight-wide pages of the console’s output
busses and VCA masters. These buttons only affect the Master
Bay channel strips. For More information see the Output
Channels reference chapter 7.
Next & Last
[NEXT] and [LAST] buttons for moving through the loaded Cuelist. These buttons have to be ena-
bled in the Settings page of the main Menu. For more information see the Snapshots, Cuelist, and
Global Filter reference chapter 14.
Snapshot Control
Full control over Snapshot and Cuelist storage, navigation, and recall. For more informa-
tion see the Snapshots, Cuelist, and Global Filter reference chapter 14.
Talkback & Oscillator
Most of these buttons are dedicated to activating preset Talkback routings. To access
Oscillator functions, use the [SETUP] button. For more information see the Talkback And
Oscillsotr refence chapter 15.
5.5 5.5 Operations Overview > Buttons
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5.5 Operations Overview > Buttons
[SETUP] But-
tons Field / Group: Active
[SETUP] buttons open
the relevant setup
screen in the Master
Bay Vistonics screen.
While a setup screen is active, pressing the [SETUP]
button again will close that setup screen. For more infor-
mation see the chapter relevant to each [SETUP] button.
Show Setup
screen
[SOLO/SEL]
Buttons Field / Group: Inactive Active
Solo or select a chan-
nel.
The [SOLO/SEL] keys operate in two modes. The default
function is to enable the SOLO path from its channel or
bus to the monitoring system. However, if a touch-area
page is open, pressing a [SOLO/SEL] from another
channel (within its own bay of eight channels) moves the
touch-area page to this new channel. [SOLO/SEL] but-
tons also perform other selection functions depending on
the console mode. These are described in the relevant
reference chapter.
Normal
Soloed/Se-
lected
[GANG] Buttons Field / Group: Inactive Active
Special Ganging func-
tionality.
For linking channels, processing blocks, and parameters,
for convenient control. See the Gang section in this oper-
ations overview chapter for more information.
Normal Gang Mode
[SOLO CLEAR]
Button Field / Group: Active
Clear any currently
active console Solos.
Clear
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5.5 Operations Overview > Buttons
Lower [FLW]
Button Field / Group: Inactive Active
Input faders follow mas-
ter bus selection.
The fader FOLLOW OUTPUT SOLO [FLW] button
located near the bottom of the Master Bay buttons strip
causes the input faders to become contributions to an
output bus when its [SOLO/SEL] button is pressed (often
known as ‘Sends on Faders mode’).
If a Matrix Output Solo/Sel is pressed, regardless of the
setting of Follow Solo modes, the Output Solo will be
activated, the EQ/Dyn/Misc touch screen for the Matrix
Output displayed, and the channel faders will be as-
signed to the contribution levels from the Outputs to the
Soloed Matrix Output.
Note: the lower [FLW] key has an additional function
in allowing VCAs to control the Aux sends of input
channels. See the Mute & VCA reference chapter 9 for
details.
Follow Mode Normal
Main Menu
Button Field / Group: Inactive Active
Brings up the Main
Menu screen in the
Master Bay.
Settings and preferences for a variety console functions
are arranged in tabbed pages in the main menu. For
more information, see the Main Menu reference chapter
16.
Normal
Main Menu
Active
Input Priority Field / Group: Inactive Active
Allow an Output Solo to
remain active, whilst an
Input Solo is temporarily
activated ‘over the top’
of it.
For more information see the SOLO System reference
chapter 8.
Normal
Main Menu
Active
Lock Meters Field / Group: Inactive Active
Locks the Meter section
of the Master Bay touch
screen onto the screen.
The meter section will be safe from output selections
bringing the channel up on the touchscreen, for example.
[SETUP] buttons still takeover the screen though.
Normal
Meters
Locked
5.6 5.6 Operations Overview > Encoders
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5.6 Operations Overview > Encoders
5.6: Encoders
Each input channel strip contains three encoders: encoder 1 and encoder 2 are located in the VST elds in the low-
er screen area, while the channel encoder is located at the top of the fader area, and has an LED ring to indicate its
parameter state. Each of these encoders can control different parameters, depending on the settings of other parts of
the console.
The master section has 16 VST encoders and 4 panel-mounted encoders with LED rings: the TB/OSC Level Control
encoder, and the Sold Blend, Solo Trim & Phones Volume encoders. These last four are dedicated to their respective
functions.
Channel encoders always control a parameter on their own channel strip. The function of the channel encoders can
be globally selected via the [INPUT GAIN], [GATE THRS] and [PAN] keys on the Encoder Mode panel. See the Inputs
reference chapter 5 for more information.
The VST Input Bay encoders default to Aux 1 and 2, though can be assigned a variety of functions depending on the
console mode. If any touch eld is activated, the 16 VST encoders are assigned with expanded channel function pa-
rameters. See the Inputs reference chapter 5 for more information.
The default setting for the Master VST encoders is as the output level controls for Master Outputs 1-16. This can also
be selected by pressing the [PAGE A] key on the Master Vistonics Mode Panel. Pressing [PAGE B] will cause the Mas-
ter VST encoders to be assigned as the output level controls for Master Outputs 17-24.
The Master VST encoders can also be assigned to Master Output Expanded Functions (e.g. EQ, Dynamics, etc.).
When a Master Output [SOLO/SEL] key is touched, it opens the Processing Area in the Master VST screen. If then a
paticular touch-area is touched, the VST encoders are assigned to appropriate expanded functions. For more informa-
tion see Outputs reference chapter 6.
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5.7 Operations Overview > Gangs
5.7: Gangs
Gang is a very helpful feature to speed up operations that inuence functions on multiple input channels, or on output
busses, in the same way. Any parameter change on ganged channels will be applied to all other ganged channels as
an offset. For example, adding 4dB of level to an aux send on one channel will add 4dB of level to the the correspond-
ing Aux sends on all other ganged chanels - it will not ‘copy’ the actual level to the other ganged channels.
Button presses will change any corresponding buttons in ganged channels that are not currently in the new state, to
the new state. From that point on, further presses will result in all switches changing state together.
Gang mode is activated and deactivated with the [GANG] button. You add or remove channels to or from the gang with
the channel [SOLO/SEL] buttons.
Entering Gang Mode does not cancel any solos of any type that are active at the time. The Solo system continues to
work as it was when Gang Mode was switched ON. The amber ‘Solo’ illumination of the Solo/Sel switches cannot be
seen whilst gang mode is ON.
Gang Button Field / Group: Inactive Active
Activate or deactivate
Gang Mode.
After activating Gang Mode, hold the [GANG] button
down to Gang all channels.
You can leave Gang Mode pressing the [Gang] button.
If you haven’t ‘cleared down’ the gang then it will be
restored the next time you re-enter Gang Mode.
Normal Gang Select
Select (Gang) Field / Group: Active
Select and deselect
ganged channels.
When in Gang Mode you can add single channels by
pressing individual channels' [SOLO/SEL] buttons OR
you can add a range of channels by pressing the rst
and last channels' [SOLO/SEL] buttons together.
Press & Hold any [SOLO/SEL] button to clear down the
entire gang (recommended after use to avoid accidental
operation of Gang mode).
When in a gang, a channel’s [SOLO/SEL] button will
glow blue.
Select
Channel
5.8 5.8 Operations Overview > Labelling
®
Vi3000 USER MANUAL
5.8 Operations Overview > Labelling
5.8: Labelling
The console labelling system is displayed on a touch-screen area whenever the labelling of a channel, output, cue, le,
or other named parameter or item is required. For example, you can label an input channel by touching the channel’s
input area on the touch screen then pressing the {CH LABEL} button in the VST area.
Labelling can be done with the displayed on-screen keyboard or an external USB keyboard. The on-screen keyboard
is context sensitive and shows only the allowed character and symbols.
Long Labels can contain up to 10 characters and short labels can contain up to six characters.
Vi3000 USER MANUAL
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6.0 6.0: INPUTS
6.0: INPUTS
Bays 1, 2, and 4 of the console (Input Bays 1, 2, and 3) are normally dedicated to controlling input channels. However,
other functions can be mapped to these channels, such as the Master Busses, Matrix feeds, Graphic EQ, and so on.
There are four main input channel control areas on the console:
• The main channel strips, including the Vistonics screen sections, are for control of input chanel parameters, routing,
and patching.
• The INPUT FADER PAGES buttons are for navigating the available input channels by choosing preset and user-
denable fader pages.
• The input channel VISTONICS control buttons provide convenient ways of assigning bus master functions to the
input channel VST encoders.
• The ENCODER MODE buttons provide fast switching of the channel strip encoder functions.
6: Input Channels
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6.1 6.1: INPUT CHANNEL > FADER PAGES
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Vi3000 USER MANUAL
6.1: INPUT CHANNEL > FADER PAGES
Navigating The Input Channels - Input Fader Pages
This section is used for navigating Fader Pages (or layers). There are four main layers of 24 input channel strips, and
a further ve user-denable layers available. The [ALL BUSSES] button maps the output busses to the input channel
strips, as described further in the Outputs reference section.
In addition, you can touch the input meter elds in the Master Bay Vistonics to remap those input channels to the right-
most input bay.
Vi3000 USER MANUAL
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6.1 I6.1: INPUT CHANNEL > FADER PAGES
6.1: INPUT CHANNEL > FADER PAGES
Fixed Fader
Layers
Field / Group: INPUT
FADER PAGES Active
Select four pages/layers
of input channel strips.
Each button maps Pages of 24 channels to the three in-
put bays, so [A] is channels 1-24; [B] is channels 25-48;
[C] is channels 49-64; and [D] is channels 65-96.
Select
User Fader
Layers
Field / Group: INPUT
FADER PAGES Active
User-Dened input
channel strip pages/
layers
Select one of these buttons to map that user-dened
fader-layer to the console. The User layers are dened
by pressing the FADER PAGES [SETUP] button.
Select
All Busses
Mode
Field / Group: INPUT
FADER PAGES Active
Map the 24 output
busses to the input bay
fader strips.
See Outputs Reference section 7 for more detail on All
Busses mode.
Select
6.2 6.2: INPUT CHANNEL > CHANNEL STRIP
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Vi3000 USER MANUAL
6.2: INPUT CHANNEL > CHANNEL STRIP
The Input Channel Strip
Input Channel
Strip Encoder Field / Group: Range Low Range High
Rotary control whose
function is dened by
the input ENCODER
MODE buttons.
The Default function is control over the channel’s ana-
logue input gain.
For more information see the Inputs Encoder Mode refer-
ence section 6.3
Dependant
on Mode
Dependant on
Mode
Input Channel
Strip F Field / Group:
Reserved for future
software updates
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6.2 6.2: INPUT CHANNEL > CHANNEL STRIP
6.2: INPUT CHANNEL > CHANNEL STRIP
Input Isolate Field / Group: Active
Used to isolate the
channel (and selec-
tions) from snapshot
recall and (when Global
Filtering is active) from
Show le loads.
See the Snapshot and Global Filtering reference section
14 for more information.
Isolate
Level and GR
Meter Field / Group:
Level and gain reduc-
tion metering for the
input channel.
See the metering reference section 12 for more informa-
tion.
Input Channel
Label Field / Group:
Displays the short label/
name of this channel.
The long and short channel labels are set in the chan-
nel's 'Input' Vistonics parameter block. See reference
section 6.5.1 for more information.
'Pre' Indicator Field / Group:
Reserved For Future
Use.
Channel ON/
OFF Field / Group: Inactive Active
Channel [ON]/OFF but-
ton. 'OFF' is effectively
a mute control.
The button glows green when the channel is 'On'. If
the channel is off there is no glow colour. However, if
the channel is muted because a mute group has been
activated, the [ON] button will glow red.
Channel Off Channel On
Mute Safe Indi-
cator Field / Group:
Glows red when Mute
Safe is active for this
channel.
When the Mute Safe system is enabled (in Monitoring
section [SETUP]), then the channel strip SOLO/SEL
button activates the Mute Safe status for the channel.
Vi3000 USER MANUAL
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6.2 6.2: INPUT CHANNEL > CHANNEL STRIP
6.2: INPUT CHANNEL > CHANNEL STRIP
Mute/VCA
Group Indica-
tors Field / Group:
Shows the Mute or VCA
Groups that is channel
belongs to.
The actual target of these LEDs (Mutes, VCAs 1-8, or
VCAs 9-16) is determined by the DISPLAY buttons in the
MUTE & VCA GROUPS button group. See the Mute &
VCA Groups reference section 9 for more information.
Channel Fader Field / Group:
Control the channel
output level.
The input channel faders can also be assigned to follow
the bus master selection in the Master Bay with the fader
[FLW] button and become level controls for contributions
to that bus.
FaderGlow Field / Group:
The channel fader is
colour-coded depending
on its function.
Input channel levels are not colour-coded. The other
FaderGlow colours are Aux Sends: ORANGE; Groups:
GREEN; Matrix Contribution: CYAN; VCA Master 1-8:
BLUE; VCA Master 9-16: PINK.
Solo / Select Field / Group: Active
Default is the channel
Solo function (listen to
this channel only on the
monitor bus).
If a touch-panel screen is open for the for another chan-
nel in the same bay, the [SOLO/SEL] button moves the
touch screen to this channel. The button has other func-
tions in other console modes such as selecting channel
for a Copy or Paste edit function. Other functions for the
[SOLO/SEL] button are detailed in the appropriate refer-
ence sections. For more on the console Solo System see
reference section 11 for more information.
Solo Enable
or Select
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6.3 6.3: INPUT CHANNEL > ENCODER MODE
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Vi3000 USER MANUAL
6.3: INPUT CHANNEL > ENCODER MODE
Input Encoder Mode
Mode: Input
Gain Field / Group: Active
(Default) Switch the in-
put Encoders to control
analogue input gain.
Select Mode
Mode: Gate
Threshold Field / Group: Active
Switch the input En-
coders to control Gate
Threshold.
Select Mode
Mode: Pan Field / Group: Active
Switch the input Encod-
ers to control Pan.
Select Mode
These buttons determine the function of the input channel encoder at the top of the main channel strip.
If [ALL BUSSES] is active or a Matrix output is soloed, the channel encoders are disabled and have no function (the
previous function is remembered however).
6.3 6.3: INPUT CHANNEL > ENCODER MODE
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Vi3000 USER MANUAL
6.3: INPUT CHANNEL > ENCODER MODE
Setup Field / Group:
Reserved for future
software upgrade.
Mode: User 1 Field / Group: Active
Switch the input Encod-
ers to control Compres-
sor Threshold.
Select Mode
Mode: User 2 Field / Group: Active
Switch the input En-
coders to control Digital
Trim.
Select Mode
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6.4 6.4: INPUT CHANNEL > VST CONTROL
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Vi3000 USER MANUAL
6.4: INPUT CHANNEL > VST CONTROL
Input VISTONICS Buttons (VST Section Control)
Pre/Post Field / Group: Active
Congure Aux sends
from channels (when
they are assigned to the
two VST encoder rows),
as pre or post-fader.
VST Mode: Pan Field / Group: Active
Activate aux paning
for encoders where
applicable.
If a stereo Aux is assigned to a VST encoder row, and
if the [PAN] key is active, the encoder will control the
Aux Pan rather than the contribution level. If both Auxes
assigned to Row 1 & 2 are Stereo Auxes, both Rows 1
and 2 will change to the PAN function across the desk. If
only one of the two rows is a Stereo Aux, then only this
row will change to PAN. If neither row has a Stereo Aux
assigned, the [PAN] switch will have no function.
Activate
Mode
Fast Assign Field / Group: Active
Provides a very fast way
to temporarily assign a
bus function to a VST
encoder row.
Press and hold one of the [FAST ASSN] keys, then press
one of the Output Masters’ [SOLO/SEL] keys.The rele-
vant row of VST encoders will now be assigned to that
Output master, and the [FAST ASSN] key in question
will illuminate. There will be no inuence on audio, the
Output solo is not activated.
Activate
Mode
These buttons control the functionality of the input channel VST encoders.
You can easiliy and rapidly assign bus contributions and bus panning to the encoders using this button group.
6.4 6.4: INPUT CHANNEL > VST CONTROL
®
Vi3000 USER MANUAL
6.4: INPUT CHANNEL > VST CONTROL
Ecoders Follow
Masters Field / Group: Inactive Active
Activate the FOLLOW
SOLO function for the
respective VST encoder
rows.
Pressing a bus master [SOLO/SEL] button will automati-
cally assign the soloed bus master to this row, overriding
the default or the [USER] layer. Note that only one [FLW]
can be active at a time.
Activate
Mode
VST Mode:
USER Field / Group: Inactive Active
Assign the two VST
Encoder rows as AUX
3 and AUX 4 send level
controls for their input
channels.
Activate
Mode
Input VST
setup Field / Group: Inactive Active
Reserved for future use.
Activate
Mode
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6.5.1 6.5.1: INPUT CHANNEL > INPUT
®
Vi3000 USER MANUAL
6.5.1: INPUT CHANNEL > INPUT
Input Touch Screen Audio Blocks - INPUT
A mono input channel’s input section touch screen area is at the top of the Vistonics input channel strip area,
colour-coded blue. The input section consists of that channel’s input source selection, pre-amp and gain stages
control, channel pairing selection for stereo (and other format) channel creation, channel labelling, and channel delay
adjustment.
6.5.1 6.5.1: INPUT CHANNEL > INPUT
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Vi3000 USER MANUAL
6.5.1: INPUT CHANNEL > INPUT
Channel Input
Select Field / Group: INPUT Range Low Range High
Select either Input 1 or
Input 2 as the channel
input.
The two physical channel inputs are assigned in the IN1
PATCH and IN2 PATCH elds.
IN 1 IN 2
Oscillator Input
Select Field / Group: INPUT Inactive Active
Assign the console's
central oscillator to the
input of this channel.
When OSC is active, the normal input selections are
disabled and the corresponding input touch eld is high-
lighted in orange.
off on
Input Gain Field / Group: GAIN Range Low Range High
Adjust the analogue
input gain.
This is an analogue gain stage, before analogue-to-digi-
tal conversion.
+10dB +65dB
Input Pad Field / Group: GAIN Inactive Active
Reduce the input sensi-
tivity by 20dB.
When the Pad is active, the PAD text in the input touch
eld is highlighted in blue.
0dB -20dB
Input Trim Field / Group: TRIM Range Low Range High
Adjust the digital input
gain.
This is the post analogue-to-digital conversion gain, in
the digital domain.
-36dB +15dB
Analogue Lo
Cut lter Field / Group: TRIM Inactive Active
Insert the analogue (pre
AD converter) low cut
lter (only analogue
inputs).
When the analogue LO Cut lter is engaged, the LO Cut
symbol in the input touch eld is highlighted in blue. This
lter affects analogue inputs only.
Out In
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6.5.1 6.5.1: INPUT CHANNEL > INPUT
®
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6.5.1: INPUT CHANNEL > INPUT
LO CUT Cut-Off
Frequency Field / Group: LO CUT Range Low Range High
Adjusts the LO CUT cut-
off frequency
This is part of the digital (post AD) LO CUT / HIGH CUT
section and affects all inputs. The affected frequency
range is shown graphically in the EQ section of the touch
screen.
20Hz 600Hz
LO CUT IN Field / Group: LO CUT Range Low Range High
Switch the digital LO
CUT lter in and out
When the digital LO CUT lter is switched in, the LO
CUT indicator above the response graph in the EQ touch
section is highlighted in blue.
Out In
HI CUT Cut-Off
Frequency Field / Group: HI CUT Range Low Range High
Adjusts the HI CUT lter
cut-off frequency.
This is part of the digital (post AD) LO CUT / HIGH CUT
section and affects all inputs. The affected frequency
range is shown graphically in the EQ section of the touch
screen.
1kHz 20kHz
HI CUT IN/OUT Field / Group: HI CUT Range Low Range High
Switch the digital HI
CUT lter in and out
When the digital HI CUT lter is switched in, the HI CUT
indicator above the response graph in the EQ section of
the touch screen is highlighted in blue.
OUT IN
Channel Pairing
Selection
Field / Group: PAIR-
ING Inactive Active
Activate channel pairing
selection on touch
screen.
The touch screen will show pairing candidate options for
the channel - these will be consecutive channel numbers
(horizontal neighbours) and the corresponding chan-
nels on higher and lower layers (vertical neighbours).
All channel parameters will be copied to the selected
pairing candidate and the pairing FORMAT eld will be
displayed.
No Selection
Channel
Selection
Pairing Format
Selection
Field / Group: FOR-
MAT Range Low Range High
Adjusts stereo format of
paired channels.
The choices are LR, RL, LL, RR, MONO. If the channel
is not paired, the FORMAT eld will not be displayed.
LR MONO
6.5.1 6.5.1: INPUT CHANNEL > INPUT
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Vi3000 USER MANUAL
6.5.1: INPUT CHANNEL > INPUT
Phantom Power
Field / Group:
PHANTOM Inactive Active
Apply Phantom Power
(+ 48V) to XLR patched
to this input.
When phantom power is applied to this channel's input,
the '48V' indicated (touch screen input section) is high-
lighted in red.
Off 48V
Phase Invert Field / Group: PHASE Inactive Active
Invert the phase of
audio through this
channel.
When phase invert is active, the phase symbol in the
input section of the touch screen is highlighted blue.
Off 180 degrees
Input Patch
Field / Group: IN1
PATCH / IN 2 PATCH Inactive Active
Activate input patch-
ing selection on touch
screen.
The input patch selection screen will give you access
to all available inputs / sources, both external (local
I/O, Stage Box, MADI, and so on) and internal (Lexicon
effects). If an input channel is paired, you will also have
to option to select L or R assignment from the same
screen. The IN 1 and IN 2 eld text areas will show the
selected source.
Inactive
Selection
active
Channel Label
Field / Group:
CH LABEL Inactive Active
Activate channel
labeling functionality on
main touch screen.
Thsi control brings up the standard ASCII keyboard
display and colour selector in order to label the channel.
You can specify short and long channel names, and a la-
bel colour. You can also use a connected USB keyboard
if available.
Inactive Active
Delay Fine
Adjust Field / Group: DLY FIN Range Low Range High
Fine adjustment of the
channel delay time.
Adjusts overall delay time in small steps. The delay
units (feet, meters, seconds etc) of adjustment can be
changed in the main Settings screen, via the [MENU]
button.
0 Seconds
Delay Adjust Field / Group: DLY Range Low Range HIgh
Adjustment of the chan-
nel delay time.
Adjusts overall delaytime. The delay units (feet, meters,
seconds etc) can be changed in the main Settings
screen, via the [MENU] button.
0 Seconds MONO
Delay In / Out Field / Group: DLY Range Low Range High
Activates the delay for
this channel.
When the channel delay is active, the 'DLY' indicator in
the touch screen input area is highlighted blue.
Out In
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6.5.2 6.5.2: INPUT CHANNEL > EQ
®
Vi3000 USER MANUAL
6.5.2: INPUT CHANNEL > EQ
Input Touch Screen Audio Blocks - EQ
A mono input channel’s parametric EQ section touch screen area is near the top of the Vistonics input channel strip
area, colour-coded red. The EQ section consists of four parametric bands with shelving response available to the LF
and HF bands..
6.5.2 6.5.2: INPUT CHANNEL > INPUT
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Vi3000 USER MANUAL
6.5.2: INPUT CHANNEL > INPUT
Frequency Con-
trol Field / Group: FREQ Range Low Range High
Adjust the centre
frequency (band pass)
or cut-off frequency
(shelving) of the EQ.
All changes are reected in the graphic Vistonics touch
screen EQ section. Any band currently being adjusted
is shown highlighted in white. All four bands feature full-
range frequncy control.
20Hz 20kHz
EQ Bandwidth /
Q Control Field / Group: BwOct Range Low Range High
Adjust the bandwidth
or Q (inverse) of the
current lter.
You can chose whether the adjustment unit is Bandwidth
or Q via the main settings screen by hitting the [menu]
button.
0.3Q/0.2oct 8.7Q/4oct
Shelf Select
Field / Group:
BwOct/Q Inactive Active
Choose a shelving
response for the lter.
The shelf response is available to the high (HF) and low
(LF) EQ bands.
Bell Shelf
Gain Control Field / Group: GAIN Range Low Range High
Adjust the gain applied
to the dened lter
band.
-18dB +18dB
EQ Band In Field / Group: GAIN Inactive Active
Switch the selected EQ
band into the Equaliser
signal path.
Please note, there is also an EQUALISER IN button to
switch the equaliser section into the channel signal path.
Out In
Flatten All Field / Group: Active
Flatten settings for the
whole equaliser section.
Flatten
EQ In
Field / Group: EQUAL-
ISER Inactive Active
Switch the whole equal-
iser section into and out
of the channel signal
path.
Respects in/out settings on individual bands. When the
Equaliser section is 'In' the EQ graphic on the Vistonics
input channel touch screen area will be highlighted in
red.
Out In
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6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS
®
Vi3000 USER MANUAL
6.5.3: INPUT CHANNEL > DYNAMICS
Input Touch Screen Audio Blocks - Dynamics
The dynamics section has three main components - The rst can either be a GATE or DeEsser section; the other two
are a COMPRESSOR and a LIMITER. All three sections can be turned on or off independently.
The dynamics section of the Vistonics touch screen shows gain reduction as a compression transform, and Gate/
DeEss selection. It also shows either the Gate status, or a gain reduction meter, depending on the Gate / DeEss se-
lection.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > GATE
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Vi3000 USER MANUAL
6.5.3: INPUT CHANNEL > DYNAMICS
Gate / DeEsser
Selection Field / Group: MODE Range Low Range High
Select either the GATE
or DeEsser function
for the rst dynamics
process.
The top line of dynamics controls adapt to this selection. Gate DeEsser
Gate Threshold
Set Field / Group: GATE Range Low Range High
Adjust the gate thresh-
old level.
-40dB +18dB
Gate In Field / Group: GATE Inactive Active
Include the Gate in the
dynamics signal path.
When Gate In is selected, the word 'GATE' is highlighted
in the touch screen dynamics section.
Out In
Gate Attack
Time Field / Group: ATCK Range Low Range High
Adjust the attack time of
the Gate.
10uS 957mS
Gate Duck
Function Field / Group: ATCK Inactive Active
Select the Gate DUCK
mode.
DUCK mode in inverse gate mode which reduces level
when the side chain input EXCEEDS the threshold. This
can be used for 'ducking' a music bed under a DJ vocal,
for instance.
Off On
Gate HOLD
function Field / Group: HOLD Range Low Range High
Adjust the Gate Hold
Tim
This is the time an activated gate will remain fully closed,
before entering the 'release' phase.
2.2 mS 2 seconds
Gate
A gate is a threshold driven gain reduction process normally used to reduce the level of, or silence, a signal when it
falls below the threshold. The gate section includes an assignable side-chain input with lters, a key signal solo func-
tion, and a ducking mode.
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6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > GATE
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Vi3000 USER MANUAL
6.5.3: INPUT CHANNEL > DYNAMICS
Gate Release
Time Field / Group: REL Range Low Range High
Adjust the Gate Release
Time
This is the time an activated gate will will take to open,
from its 'hold' state.
2.2 mS 3.7 Sec
Gate Range Field / Group: RNG Range Low Range High
Adjust the Gate Range.
This is the difference between the nomral signal level
and the gated signal level.
-60dB 0dB
Gate Side
Chain Solo Field / Group: RNG Inactive Active
Switches the Gate Side
Chain signal to the Solo
buss.
For monitoring the signal being used as the gate 'key'
(The signal used for testing gate threshold).
Off Solo
Lo Cut
Frequency Field / Group: LO CUT Range Low Range High
Adjust the cut-off
frequency of the gate
sidechain lo-cut lter.
Together with the gate hi-cut lter, this creates a band-
pass lter for side chain control of the gate.
20Hz 20kHz
Sidechain Filter
In Field / Group: LO CUT Inactive Active
Inserts the gate Hi and
Lo Cut side chain lters
into the side chain
singal path.
Together the gate lo-cut and high-cut side chain lters,
create a band-pass lter for side chain control of the
gate.
Out In
Gate Hi Cut
Filter Field / Group: Hi CUT Range Low Range High
Adjust the cut-off
frequency of the gate
sidechain hi-cut lter.
Together with the gate lo-cut lter, this creates a band-
pass lter for side chain control of the gate.
20Hz 20kHz
Gate External
Key In Field / Group: HI CUT Inactive Active
Swtiches the sidechain
key signal from the main
channel signal, to an
external signal.
Assign the key input patch with the key assign button in
the MODE eld.
Out In
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > DE ESS
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Vi3000 USER MANUAL
6.5.3: INPUT CHANNEL > DYNAMICS
De-Esser Sensi-
tivity Field / Group: SENS Range Low Range High
Adjust the sensitivty of
the De-esser process.
0% 100%
De-Esser In Field / Group: DEES Inactive Active
Activates the De-esser
process
Out In
De-Esser Range Field / Group: RNG Range Low Range High
Adjusts the De-esser
attenuation.
The maximum amount by which the signal in the 'Ess'
band is attenuated when the DeEsser is activated.
-18dB 0dB
Ess Band Solo Field / Group: RNG Inactive Active
Solo the De-esser
dynamic lter.
Helps pinpoint the 'Ess band' most suited to the current
signal.
Off Solo
De-Ess Filter
Frequency Field / Group: FREQ Range Low Range High
Adjust the centre
frequency of the De-ess
dynamic lter.
20Hz 20kHz
External Key
Assign Field / Group: MODE Inactive Active
x
Activate the External
Key Assign screen in
the main Vistonics touch
sreen panel.
All external I/O options for the external key become
available for selection.
+ -
DE-ESS Function
The de-esser is a dynamically controlled lter normally used to reduce the sibilance (‘sss’ components) in
a singer’s voice. If the de-esser is active, the signal level will be reduced only in the band set by the lters,
when the signal in this band exceeds the required threshold.
Vi3000 USER MANUAL
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Compressor / Limiter
A compressor is a threshold driven process used to reduce the dynamic range of a signal by applying gain
reduction when the signal level exceeds the threshold and applying ‘make-up gain’ to keep the overall level
consistent. The compressor includes an automatic make-up gain function.
A Limiter is a dynamics process used to limit peak signal level by reducing signal level as it approaches or exceeds the
threshold.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > DE ESS - COMPRESSOR
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Vi3000 USER MANUAL
6.5.3: INPUT CHANNEL > DYNAMICS
Compressor
Threshold Field / Group: CMP Range Low Range High
Adjust the threshold of
the compressor
When the signal exceeds the threshold, it will be attenu-
ated according to the compression settings.
-40dB +18dB
Compressor In Field / Group: CMP Inactive Active
Activate the compressor
process.
The the compression process is activated, the compres-
sion trnasform graphic in the dynamics touch screen
area will be highlighted in green.
Out In
Compressor
Attack Field / Group: ATCK Range Low Range High
Adjust the compressor
attack time.
The time it takes for the compression function to reach
full attenuation after the threshold has been reached.
The slower the attack time, the 'softer' the compression.
0.5mS 98.6mS
Compressor Re-
lease Time Field / Group: REL Range Low Range High
Adjust the compressor
release time.
The time it takes for the compression function to return
to zero attentuation after full attentuation has been
reached.
5.5mS 5 Sec
Compressor Re-
lease Time Field / Group: REL Range Low Range High
Adjust the compressor
release time.
The time it takes for the compression function to return
to zero attentuation after full attentuation has been
reached.
5.5mS 5 Sec
De-Ess Filter
Bandwidth Field / Group: BwOct Range Low Range High
Adjust the bandwidth
or Q of the De-esser
dynamics lter
You can set the unit of adjustment (octave bandwidth or
Q) in the main Settings screen, activated with the [menu]
button.
0.2oct / 0.3Q 4oct / 8.7Q
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > COMPRESSOR - LIMITER
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Vi3000 USER MANUAL
6.5.3: INPUT CHANNEL > DYNAMICS
Compression
Ratio Field / Group: RTIO Range Low Range High
Adjust the compression
ratio.
The ratio between the normal signal level and the attenu-
ated (compressed) signal level. The higher the ratio, the
more compression is applied.
1 20
Compressor
Makeup Gain Field / Group: MKUP Range Low Range High
Adjust the post-com-
pression makeup gain.
Gain applied after the compresssor to account for level
lost in compression.
-20dB +20dB
Compressor
Automatic
Makeup Gain Field / Group: MKUP Inactive Active
Activate automatic
makeup gain.
When activated, this will apply makeup gain after the
compressor automatically, depending on the settings of
the Threshold and Ratio controls.
Off On
Limiter
threshold Field / Group: LIM Range Low Range High
Adjust Limiter threshold. Threshold at which the limiter is activated. -40dB -6dB
Limiter In Field / Group: LIM Inactive Active
Activate Limiter Include the Limter in the dynamics section. Out In
Limiter
Attack Time Field / Group: ATCK Range Low Range High
Adjust the Limiter attack
time.
The time taken for the limiter to reach full attentuation. 10uS 98.6mS
Limiter Release
Time Field / Group: REL Range Low Range High
Adjust the Limiter
release time.
The time taken for the limiter to return to zero attentuaion
after limiting.
5.5mS 957mS
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6.5.4 6.5.4: INPUT CHANNEL > VISTONICS>BUSSES
®
Vi3000 USER MANUAL
6.5.4: INPUT CHANNEL > BUSSES
Input Touch Screen Audio Blocks - Busses
The Busses section ofthe input channel vistonics touch screen signal path provides access to all Aux and Group
contributions in the VST area, The Touch Screen block graphic shows activated Aux levels in orange and group
routings in Green. The controls vary depending on whether you are working on Auxilliaries or groups.
Auxiliary Send
Level Field / Group: Aux n Range Low Range High
Adjust the send level
from the input channel
to the numbered Aux
Bus.
The Orange bars in the bus touch screen areas show
also aux send levels. The control display includes post /
pre-fade routing of the aux buss.
-90dB +10dB
Auxiliary Send
On Field / Group: Aux n Inactive Active
Enables the numbered
aux send from the input
channel.
The corresponding aux level bar in the bus touch screen
area is highlighted orange when the aux send is enabled.
Off On
6.5.4 6.5.4: INPUT CHANNEL > VISTONICS>BUSSES
®
Vi3000 USER MANUAL
6.5.4: INPUT CHANNEL > BUSSES
Stereo Aux
Send Balance Field / Group: Aux n Range Low Range High
Adjust balance of the
numbered stereo aux
send.
The Stereo symbol above the encoder shows that this
aux send has been combined with its numerical neigh-
bour to create a stereo aux send. The 'neighbour' aux
send space will either be blank or show a balance con-
trol, depending on the busses' 'channel pan' status. If
the aux has been set to follow the input channel panning,
there will be no balance control.
30L 30R
Group Buss
Routing Field / Group: Group n Inactive Active
Route the input channel
signal to the numbered
group bus.
The corresponding group assign bar in the bus touch
screen area is extended and highlighted in blue when the
numbered groups bus routing is enabled for this channel.
Off On
Stereo Group
Buss Routing Field / Group: Group n Inactive Active
Route the input channel
signal to the numbered
stereo group buss.
The Stereo symbol above the encoder indicates that
this group has been paired with its neighbour to create
a stereo group buss that follows channel panning. The
neighbouring group display will be blank.
Off On
Buss 'Blank' Field / Group: Inactive Active
Shows this buss has
been assigned as a
Matrix buss.
- -
Vi3000 USER MANUAL
®
6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)
®
Vi3000 USER MANUAL
6.5.5: INPUT CHANNEL > OUTS
Input Touch Screen Audio Blocks - Panning, Insert, Direct Out, Delay.
This page contains the output functions of the input channel including the panning, the routing to the mix masters, and
the insert point and the direct out paramters. The Pan can work in LR or in LCR mode. In LCR mode an additional
width function is available.
Panning Field / Group: PAN Range Low Range High
Adjusts panning to the
Master L, R, and C
busses, depending on
pan mode chosen.
If the channel is paired, the balance can be adjusted. If
the Pan {MODE} is set to LCR, an additional WIDTH eld
becomes available.
30L 30R
Panning On Field / Group: PAN Inactive Active
Activate or deactivate
the panning controls.
If PAN is set to OFF, then the level to all master busses
is the same as if pan controls are 'middled'. That is -3dB
for mono channel panning and 0dB for paired channel
balance. If PAN is set to ON then the level to the master
busses varies between 0dB and -innity. For balance
that becomes +3dB to -innity.
Off On
6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)
®
Vi3000 USER MANUAL
6.5.5: INPUT CHANNEL > OUTS
LR On
Field / Group: MAS-
TER LR Inactive Active
Routes the channel
signal to the Left and
Right masters.
Off On
Centre On
Field / Group: MAS-
TER C Inactive Active
Routes the channel
signal to the Centre
master bus.
Off On
Panning Mode Field / Group: MODE Range Low Range High
Set either LR or LCR
Mode.
In LR Mode only Pan is available, though routing to the
C master bus is still possible. With LCR mode enabled,
the width parameter becomes available.
LR LCR
Insert Patch Field / Group: INSERT Active
Select and assign phys-
ical I/O for the insert
send and return.
Insert points provide a send and return path that inter-
rupts the channel signal ow.
In any Insert Select page, all available insert points can
be patched to physical I/O by touching the on-screen
(SETUP) button. You can return to insert assignment
by touching the (SETUP) button again. In Insert SETUP
mode you can choose send and retun I/O from any of
the available physical inputs and outputs, and you can
pair inserts.
You can assign input channel inserts to any unused
insert point or to an available internal FX unit. If you try
to select an insert point that has already been assigned,
you will be offered the option to ‘steal’ that insert.
Close Patch-
ing Screen.
Open Patch-
ing screen.
Insert Point Field / Group: POINT
Select the point in the
input channel's signal
path for the insert point
'tap'.
Options are post-HPF/Pre-processing, post-processing/
pre-fader, or post-fader.
Vi3000 USER MANUAL
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6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)
®
Vi3000 USER MANUAL
6.5.5: INPUT CHANNEL > OUTS
Insert Trim Field / Group: TRIM Range Low Range High
Adjust the actual send
signal level.
Insert On Field / Group: TRIM Inactive Active
Activate the insert point. Off On
Direct Output
On Field / Group: Inactive Active
Activate the Direct
Output for this input
channel.
Off On
Direct Output
Gain Field / Group: Range Low Range High
Adjust the gain of the
channel's Direct Output.
-90dB +10dB
Direct Output
Point Field / Group:
Select the point in the
input channel's signal
path for the Direct Out-
put 'tap'.
Options are pre HPF, post-HPF/Pre-processing,
post-processing/pre-fader, or post-fader.
Direct Output
Patch
Field / Group: DIRECT
OUT Inactive Active
Select and assign phys-
ical I/O for the direct
output.
Opens a patching screen in the corresponding Vistonics
touch screen area.
Close Patch
Screen
Open Patch
Screen
Vi3000 USER MANUAL
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7.0 7.0: OUTPUTS
7.0: OUTPUTS
Outputs
Auxilliaries, Groups, and LCR Mix busses
4.3: INPUT CHANNEL > DYNAMICS
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4.3 INPUT CHANNEL > De Esser
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7.0 7.0: OUTPUTS
7.0: OUTPUTS
There are 24 congurable output busses on the Vi 3000, plus the Master Left, right, and Center (LRC) busses. You
can choose to assign any of the 24 busses as mono OR stereo Auxilliaries or Groups with full processing. You can
create stereo busses with no reduction in the total number of available busses (24 busses are available regardless of
whether they are mono or stereo).
Up to 16 busses can be congured as mono or stereo Matrix (MTX) outputs with full processing, each with up to 24
congurable sources (including busses) - effectively creating up to 16 24-source mixes. Most of the references in this
chapter refer to the Auxilliary and Group assignments. For the full Matrix system reference please see the Matrix refer-
ence chapter 9.
In normal operation (Output Fader Pages A, B, C, and User views) bus master output controls are mapped to the
VST encoders in the Master Bay Vistonics screen over two pages. Use the [PAGE A] and [PAGE B] buttons to switch
between those pages.
Vi3000 USER MANUAL
®
7.1 7.1: OUTPUTS > LCR MASTERS
7.1: OUTPUTS > LCR MASTERS
LRC Mix Outputs
The LRC Bus Master faders are located in the MASTERS section in the console Master Bay. These are dedicated
faders and controls, and are never used for anything else.
To access the LRC Bus mastering page, simply press the MASTERS [SEL] button. The processing page will appear
on the MasterBay Vistonics touch screen area.
The LRC Master busses can have their Parametric and/or Graphic Equaliser sections linked for easier adjustment.
See below for more detail.
Outpus: LCR Mix Master Busses
4.3: INPUT CHANNEL > DYNAMICS
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4.3 INPUT CHANNEL > De Esser
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7.1 7.1: OUTPUTS > LCR MASTERS
7.1: OUTPUTS > LCR MASTERS
Isolate Active
Isolate the LRC Masters
from snapshot recall
or Show Recall (with
global ltering acive).
See the Snapshots / Global Filtering reference for more
detail.
Channel
isolated
On Inactive Active
Bus On/Off (Mute). Off (Muted) On
LCR Select Active0
Access the LCR Master
Busses processing
page.
Gives access to the procesing blocks in the Master LRC
outputs via the touch screen area of the Master Bay
Vistonics.
GEQ In
LCR Fader
Control the output levels
of the LRC Masters
The output levels of the LRC Master outputs are always
controlled by their dedicated faders. Those faders are
never used for anything else.
L/C/R Link
setup
Set up LRC Master bus
EQ and GEQ linking.
Left and Right busses can be linked, or the Centre bus
can be added to the linked L and R so that all three
busses can be adjusted together. It is not possible to link
Left and Centre or Right and Centre. The defualt state,
loaded with Default Show Files, is for LINK to be set to
ON for LCR busses, both EQ and GEQ.
Access EQ
Adjust the parameteric
EQ for this Master.
The output bus parametrc EQ is the same is used for the
input channel EQ. Please see the input channel refer-
ence for more detail.
Vi3000 USER MANUAL
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7.1 7.1: OUTPUTS > LCR MASTERS
7.1: OUTPUTS > LCR MASTERS
Access L/C/R
GEQ
Maps the BSS Graphic
equaliser for this block
to the console faders.
See the BSS Graphics Equaliser reference later in this
chapter for more Detail.
L/C/R Dynamics
Access the L/C/R bus
dynamics.
The controls are identical to those of the input channels,
except there are no Gate or De-Esser modes available
for output busses.
L/C/R Insert/
Delay etc
The controls for the
Insert/Delay section are
similar to those of the
input channels.
Extra functions unique to the insert section of the output
channels are Low Cut Filter, Phase, and Delay. However,
thse are the same as those in the Input section of the
input channels.
4.3: INPUT CHANNEL > DYNAMICS
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4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
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7.2 7.2: OUTPUTS > BUS CONFIGURATION
7.2: OUTPUTS > BUS CONFIGURATION
To congure the console busses and map the bus masters to the console input channel strips, you simply press the
[ALL BUSS] button in the Input Fader Pages controls or assign a bank of eight bus masters to input bay 3 (right hand
bay) by touching the relevant metering group in the Master Bay touch screen. You then patch physical outputs and
name the busses by touching the Panning/Insert processing block in the touchscreen area and presing the {BUS OUT}
and {OUT LABEL} buttons in the VST area.
You can name the output busses and assign the physical output by touching the nal PAN/INSERT/DELAY processing
block and presing the {BUS OUT} and {OUT LABEL} buttons in the VST area.
Outpus: Bus Conguration
Vi3000 USER MANUAL
®
7.2 7.2: OUTPUTS > BUS CONFIGURATION
7.2: OUTPUTS > BUS CONFIGURATION
Bus Type
Set the Bus Type for
this Bus.
Choose from AUX, GRP or MTX with the encoder. If Aux
is selected and if the format eld is set to stereo then the
{CHPAN} eld is enabled.
Pan Follows
Channel
Set 'Pan follows chan-
nel' for a stereo bus.
Set this so the panning into a stereo auxilliary follows the
channel panning rather than the Aux panning.
Bus Format
Choose a format (mono
or stereo) for the bus.
For Stereo Auxilliary busses, the CHPAN option will
become available.
4.3: INPUT CHANNEL > DYNAMICS
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4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
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7.3 7.3: OUTPUTS > BUS MASTER CONTROL
7.3: OUTPUTS > BUS MASTER CONTROL
Outputs Controls
There are four ways of controlling the console’s bus masters and two ways of acessing the output bus processing and
parameters:
Master Bay VST Encoders
Bus master levels are available on the VST Encoders in the Master Bay, with groups of bus masters selected via the
[Page A] and [Page B] Vistonics control buttons. The [TB ASN] (Talkback Assign), [ON/OFF], and [SOLO/SEL] Viston-
ics control buttons select the VST button function.
Outpus: Bus Master Control
Vi3000 USER MANUAL
®
7.3 7.3: OUTPUTS > BUS MASTER CONTROL
7.3: OUTPUTS > BUS MASTER CONTROL
Master Bay output channel strips
Bus masters levels can be mapped to the eight Master Bay faders and associated channel strip controls by selecting
Master Bay FADER PAGES buttons [A] (Busses 1-8), [B] (Busses 9-16), and [C] (Busses 17-24).
All Busses Mode
If the All Busses mode is active, achieved by pressing the [ALL BUSS] button in the Master Bay INPUT FADER PAG-
ES controls, the input strips on all of the input bays will be switched to control the 24 output busses and the faders will
control the bus master output levels.
Third Input Bay - Fast-Select
By touching any of the channel metering areas in the Master Bay touch screen area you assign that bank of eight to
the third input bay. Three banks of eight outputs are located on the top row on the Master Bay touch screen.
Bus Parameter Control
With the console in All Busses mode, the console’s Vistonics screens give direct touch access to the processing
chains of all 24 output buss channel strips.
Alternatively, with the Master Bay Vistonics button function set to [SOLO/SEL], pushing any bus master chanel strip
[SOLO/SEL] button will display that bus output’s processing chain in the Master Bay touch screen area.
In both cases, selecting a processing block will bring that block’s parameters up on the VST area of the Vistonics
screen.
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
7.3.1 7.3.1: OUTPUTS > MASTERS > VISTONICS
7.3.1: OUTPUTS > MASTERS > VISTONICS
With the Bus Master Controls in the VST elds of the Master Bay, a number of primary functions are available. Use the
Master Bay VISTONICS button group to control which functions and which masters are available.
Outpus: Master Bay Vistonics
Talkback
Assign Mode
Assign the {TB ASSN}
function to the bus mas-
ters VST buttons.
See the Talkback and Oscillator chapter for more infor-
mation.
On/Off Mode
Assign the {ON} func-
tion to the bus masters
VST buttons.
Solo/Sel Mode
Enable solo/Select
Mode
Assigns the {SOLO} function to the bus masters VST
buttons and let the Bus channel strip [SOLO/SEL]
buttons access the bus parameters via the Master Bay
touch screen.
Vi3000 USER MANUAL
®
7.3.1 7.3.1: OUTPUTS > MASTERS > VISTONICS
7.3.1: OUTPUTS > MASTERS > VISTONICS
Masters Bank
Pages
Switch between banks
of bus masters in the
Master Bay Vistonics
VST area.
Bus Level
Control the level of the
bus output.
Bus Solo
Solo this bus output. See the Solo system chapter for more information.
Bus ON
Enable / Disable (Mute)
this Bus
Talkback
Assign
Assign this bus to the
Talkback system.
See the Talkback and Oscillator chapter for more infor-
mation.
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
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4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
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7.3.2 7.3.2: OUTPUTS > MASTERS > CHANNEL
7.3.2: OUTPUTS > MASTERS > CHANNEL
The MasterBay chanel strips are for output Bus and VCA control, determined by the Master Bay Fader Pages selec-
tors. The [VCA] button maps VCA masters 1-8 to the Master bay faders. Buttons [A] through [C] map busses 1-24 to
the Master Bay channel strips in groups of eight. Buttons [D] maps VCA masters 9-16 to the eight master bay fad-
ers. For more information on VCAs, please see the Mute Groups & VCAs reference section 9. However, using the
[ALL-BUSSES] mode and Master Bay meter selection input channel strips become bus master strips.
Outpus: Master Channel Strip
Vi3000 USER MANUAL
®
7.3.2 7.3.2: OUTPUTS > MASTERS > CHANNEL
7.3.2: OUTPUTS > MASTERS > CHANNEL
ISO: Isolate
Bus
Isolate this bus from
snapshot recall and
Show recall (when
Global Filtering is
active)
See the Snapshot and Global Filtering chapter for more
information.
Mute Safe LED
Indicate when Mute
Safe is active for this
bus.
When the Mute Safe system is enabled (in Monitoring
section [SETUP]), then the channel strip SOLO/SEL
button activates the Mute Safe status for that channel.
Bus Fader
Control the the bus
master output level.
FaderGlow
The channel fader is
colour-coded depending
on its function.
Input channel levels are not colour-coded. The other
FaderGlow colours are Aux Sends: ORANGE; Groups:
GREEN; Matrix Contribution: CYAN; VCA Master 1-8:
BLUE; VCA Master 9-16: PINK.
Bus MUTE/VCA
Display
Shows mute group and
VCA group assignment
for this channel.
Bus SOLO/SEL
Defaults to adding the
a SOLO enable for the
channel.
If a touch-panel screen is open for the for another chan-
nel in the same bay, the [SOLO/SEL] button moves the
touch screen to this channel. The button has other func-
tions in other console modes such as selecting channel
for a Copy or Paste edit function. Other functions for
the [SOLO/SEL] button are detailed in the appropriate
reference sections.
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
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7.3.3 7.3.3: OUTPUTS > MASTERS > PROCESS
7.3.3: OUTPUTS > MASTERS > PROCESS
The bus output processing chain has a parametric EQ block, a BSS Graphic Equaliser block (GEQ), a dynamics block,
and a Pan/Insert block. You can also label the bus, assign a physical output, and set a delay inside the Pan/Insert
block.
Outpus: Master Bus Processing Chain
Vi3000 USER MANUAL
®
7.3.3 7.3.3: OUTPUTS > MASTERS > PROCESS
7.3.3: OUTPUTS > MASTERS > PROCESS
Bus Channel
Strip EQ
Adjust the parameteric
EQ for this Master.
The output bus parametrc EQ is the same is used for the
input channel EQ. Please see the input channel refer-
ence for more detail.
Bus Channel
Strip GEQ
Maps the BSS Graphic
equaliser for this block
to the console faders.
See the BSS Graphics Equaliser reference later in this
chapter for more Detail.
Bus Channel
Strip Dynamics
The controls are identi-
cal to those of the input
channels, except there
are no Gate or De-Ess-
er modes available for
output busses.
Bus Channel
Strip Insert,
Delay
The controls for the
insert section are similar
to those of the input
channels.
Patch and name the buss, as well as control panning
insert conguration, delay, and more. Extra functions
unique to the insert section of the output channels are
Low Cut Filter, Phase, and Delay. However, thse are the
same as those in the Input section of the input channels.
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
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7.4 7.4: OUTPUTS > GRAPHIC EQ
7.4: OUTPUTS > GRAPHIC EQ
The console has a total of 27 high-quality BSS Graphic Equalisers (GEQ) - one for each of the 24 assignable Busses,
and one for each of the LCR Master outputs. The GEQs are all 30-Band EQs with an adjustable bandwdith control.
To access a GEQ, simply select a GEQ processing block from an output’s touch-screen parameter display.
Bus parameter displays can be accessed either by entering All Busses mode with the [ALLBUSS] button and selecting
the GEQ block from the corresponding channel’s touch screen area, or by selecting a bus [SOLO/SEL] button while
the Master Bay Vistonics button assign is set to Solo/Select. For more information see the Bus Output reference.
When a GEQ is selected, Bandwidth, Flatten, and In controls are mapped to the right-most VST controls, and the
Graphic EQ bands are mapped to the console faders. There are two GEQ control modes. The Large GEQ mode maps
all 30 bands accross the consoles faders. The Small GEQ mode mode maps eight GEQ bands to the Master Bay fad-
ers - scrollable with the Output Fader Page buttons [A] to [E]. The GEW Control mode is set in the Main Menu Settings
Tab.
Graphic Equalisers (GEQ)
4.3: INPUT CHANNEL > DYNAMICS
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4.3 INPUT CHANNEL > De Esser
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7.4 7.4: OUTPUTS > GRAPHIC EQ
7.4: OUTPUTS > GRAPHIC EQ
Bandwidth Range Low Range High
Adjust the bandwidth of
the 30 GEQ bands.
The Bandwidth units can either be Q or Octaves,
depending on the {EQ UNIT} setting in the Main Menu
(Settings Tab).
0.24Oct 0.36Oct
Flatten All Active
Flatten levels of all
bands of the currently
active GEQ to 0dB.
All GEQ
bands 0dB
GEQ In Inactive Active
Activate or deactivate
the currently selected
GEQ.
GEQ Out GEQ In
Graphic EQ
Fader Range Low Range High
Adjust the level of the
corresponding band.
The FaderGlow colour for a GEQ band is red. The centre
frequency of the band is shown in the channel label
display.
-12dB +12dB
GEQ Fader On
Button Active
Indicates which GEQ
bands are non-zero,
and attens bands.
When you adjust the level of a GEQ band, the corre-
sponding [ON] button is highlighted in red. A subsequent
press of the [ON] button will atten/null the band and turn
the [ON] light off.
Band level
0dB
Vi3000 USER MANUAL
®
8.0 8.0: MATRIX
8.0: MATRIX
Instead of a simple Output matrix, the console has a built-in, freely-congurable matrix that can have up to 16 Outputs
(mono or stereo) with full processing including parametric EQ, dynamics, delay, and graphic EQ. Each matrix output is
a mix of up to 24 congurable sources that can be signals from busses, channel direct outputs, or inputs directly from
the patching system.
The sources for each matrix mix can be individually patched, so the matrix can be utilized as 16 different mixers, each
with up to 24 inputs, with output processing.
In order to use a matrix, the output bus must rst be conggured as a matrix output. This can be done easily either via
All-Busses Mode (press the [All BUSSES] button in the Input Fader Pages section) or by touching the relevant meter
group in the Master Bay touch screen. In this case, the buss masters and assignments will be mapped to the right-
hand input bay.
Matrix Control
To map matrix contributions to the input bays, rst endsure that the [ALL BUSSES] key is NOT selected, then Press
the [SOLO/SEL] on a matrix master. All the input bays will change to the matrix contributions view and Faderglow™
illuminates with the matrix colour (cyan).
Press the Matrix source ‘+’ Vistonics button in one of the input screens above the fader you wish to use for the source. This opens
a patching screen that allows the source to be chosen from the categories on the right side of the screen: MADI, Stagebox, Local,
Direct Out or Bus Out.
Once the source is selected, its level to the matrix bus out will be controlled by the channel fader and [ON] button. With some types
of source (Direct and Bus Out) is is possible to choose the point in the signal path of the source channel or bus from where the feed
to the Matrix bus will be taken.
Monitoring Matrix
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
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4.3 INPUT CHANNEL > De Esser
Matrix Source
ON
Turn on (or off) the
corresponding matrix
source.
Matrix Source
Fader
Adjust the level of this
source as a contribution
to the matrix mix.
Matrix Source
Solo/Sel
Cancels the Matrix
mapping and returns
channels to normal
operations.
Matrix Pan En-
coder
Pan control for stereo
Matrix sources.
If the Matrix bus is stereo, the Pan control will appear
above each Matrix Source fader allowing the selected
source to be positioned within the stereo image of the
Matrix bus. If the Matrix is mono, this control will have no
function.
Matrix Source
Source
Choose a source for
this matrix input.
The button opens up a patch selection screen with all
available matrix sources, including output busses, physi-
cal console inputs, and input channel direct outs.
Matrix X Point
Select the point/tap
where the selected
matrix source is taken
from. For example, se-
lecting a buss master as
a matrix source offers
the choice of pre-fade,
post-fader, or post-ON.
Vi3000 USER MANUAL
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8.0 8.0: MATRIX
8.0: MATRIX
Vi3000 USER MANUAL
®
9.0 9.0: MUTE & VCA GROUPS
9.0: MUTE & VCA GROUPS
The console supports up to 4 mute Groups (MG) and 16 primary VCA masters that can include both input and output
channels.
There is a secondary level of VCA functionality, most useful for monitor engineers, which allows the user to assign up
to 16 VCA masters to each auxilliary mix when the auxilliaries are controlled for the channel faders. This means there
are 25 possible sets of 16 VCA groups. A more detailed reference for this functionality is included later in the this chap-
ter (section 9.3).
Each input and output strip has a VCA/mute group display next to its fader made up of eight LED indicators. These
show which mute and VCA groups each channel belongs to in three modes: mute groups 1-4, VCAs 1-8, and VCAs
9-16. The mode selection for the indicators is selected in the DISPLAY section of the MUTE & VCA GROUPS buttons
located on the left side of the Master Bay fader panel.
Mute & VCA Groups
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9.1 9.1: MUTE & VCA GRPS > MUTE GROUPS
9.1: MUTE & VCA GRPS > MUTE GROUPS
There are four console mute groups, activated with the [1], [2], [3], and [4] buttons in the MUTE & VCA GROUPS but-
ton group. Both input and output channels can be assigned to mute groups.
When a channel mute is activated by a mute group, the channel’s ON button glows red.
Mute group assignment is started by pressing the MUTE & VCA GROUPS [SETUP] button (see below).
Mute Groups Operation
Mute Setup Inactive Active
Press the MUTE & VCA
GROUPS [SETUP]
button, then chose a
Mute Group button to
congure that group.
The [SETUP] button will glow blue when pressed. The
chosen mute group master button - [1], [2], [3], or [4]
- will glow red when you select that group. Press the
[SOLO/SEL] key of any channels (input and/or outputs)
to be assigned to the selected mute group, then press
[SETUP] again to exit the conguration mode.
Normal
Mute Setup
Mode
Mute Group 'n' Inactive Active
Press to activate / select
a Mute Group.
In normal use, the mute groups selectors will activate
the chosen mute group (mute those channels). In setup
mode they select a mute group to be set up.
Normal
Mute Group
Selected
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9.2 9.2: MUTE & VCA GRPS > VCA GROUPS
9.2 MUTE & VCA GRPS > VCA GROUPS
VCA Groups conguration is started by pressing the MUTE & VCA GROUPS [SETUP] button. When you press a VCA
Master [SOLO/SEL] button you can assign channels to that VCA group with their individual [SOLO/SEL] buttons, and
also access VCA group options - including labelling - in the Master Bay Vistonics. See below for more information.
You can select EITHER output chanels OR input channels to be part of a normal VCA group.
In order to assign VCAs, the VCA masters [SOLO/SEL] buttons have to be made available by selecting the appropri-
ate Master Bay Fader Pages layer - [VCA] for VCA masters 1-8, or [E] for VCA masters 9-16.
VCA Master level at setup
The assignment of VCAs should be done with the channel or group faders and the VCA master, to which assignment
is being made, being at or near a nominal operating level. That is, don’t assign a VCA master to a channel or group if
the VCA master is at -40dB while the channel or group is at 0dB. There are 0dB buttons for VCA masters avilable in
VCA group conguration mode.
VCA Group Operation
VCA and 'E'
Buttons Active
Fader Pages buttons for
mapping VCAs to the
Master Bay faders.
The [VCA] button maps VCA masters 1-8 to the eight
Master Bay faders. The [E] button maps VCA masters
9-16 to the eight Master Bay faders.
VCA Masters 1-16 can be assigned to any Output Fader
page from A to E, along with Bus Output faders using the
User Dened fader page setup. The VCA page cannot
be remapped and always contains VCA 1-8.
Select VCA
Range
VCA Masters
[ON] Buttons Inactive Active
Master On/Off button for
all of the VCA's member
channels.
If a channel that was previously on is turned off by the
action of a VCA Master [ON]/Off button, the channel’s
[ON] button will illuminate in red to distinguish this condi-
tion from a manually 'off' channel.
The VCA Master On/Off switch itself has only 2 states,
and always illuminates red when off, and green when on.
All VCA
Members
OFF (muted)
All VCA Mem-
bers ON
VCA Group
Fader Low Range
An offset dB level for
all channels that are
members of the VCA
Group.
• When a VCA master fader is moved, the contributing
channel fader levels remain unchanged.
• If a channel is assigned to more than one VCA Group,
the resultant offset applied to the channel is calculated
as the arithmetic sum of the dB values of each VCA
Master.
• Any VCA master fader reaching –innity dB (fader at
lowet position) will set all member channels to –innity
dB, regardless of other Master fader settings.
• The maximum gain applied to a member channel as the
result of the channel fader setting plus offsets from VCA
Master faders is limited to +10dB.
-innity
VCA Master
Solo/Sel Inactive Active
A master Solo button for
all of the VCA's member
channels.
Depending on the setting of the AUTO button in the
Monitor Setup page (SOLO section), activating a VCA
Solo will result in PFL (if the group only has one member
channel) or AFL (if the group has more than one member
channel).
Otherwise the VCA solo will follow the setting of the PFL/
AFL switch in the Monitor Setup page.
Normal Soloed
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9.2 9.2: MUTE & VCA GRPS > VCA GROUPS
9.2 MUTE & VCA GRPS > VCA GROUPS
VCA Setup Inactive Active
Press the MUTE & VCA
GROUPS [SETUP] but-
ton, then chose a VCA
[SOLO/SEL] to cong-
ure that VCA group.
The [SETUP] button will glow blue when pressed. The
[SOLO/SEL] button of the chosen VCA Master will also
glow blue. You can then press the [SOLO/SEL] buttons
on any channels you wish to make part of that VCA
group. Then either press the [SETUP] button again to
exit the conguration mode, or press another VCA Mas-
ter [SOLO/SEL] button to congure a new VCA group.
During conguration of VCA groups, a number of options
become available in the Master Bay touch screen and
VST area (see below).
Normal Setup Mode
Bulk Assign
VCA
Select all input channels
or no channels as mem-
bers of the VCA Group.
Select the VCA Group you require by pressing its
[SOLO/Sel] button rst.
Aux VCA Mode
Bulk On/Off
Switch all VCA Masters
in the Master bay
between Aux VCA Mode
and Normal mode.
(See Aux VCA Mode
reference).
Reset VCA
Masters
Set VCA Masters to
0dB.
Either set the currently selected master to 0dB, or all aux
send VCA masters (see Aux VCA Mode reference).
Label VCA
Group
Opens up a standard
labelling keyboard in
the Master Bay touch
screen area for labelling
the VCA master.
Hide Label-
ling Keyboard
Show Label-
ling Keyboard
Aux VCA Mode
[On]/Off
See the curently se-
lected Aux VCA Master
on or off (see Aux VCA
Mode reference).
When in fader [FLW] mode and an Aux master is
selected, VCA Masters set to 'ON' will control the Aux
VCA group, not the 'normal VCA group. Aux VCA group
master faders are highlighted with white FaderGlow,
while 'normal' channel VCAs are highlighted with blue
FaderGlow.
Normal
Aux VCA
Mode Active
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9.3 9.3 MUTE & VCA GRPS > AUX VCA GROUPS
9.3 MUTE & VCA GRPS > AUX VCA GROUPS
Aux VCA Groups (fader controlled)
The VCA Groups on the console are normally used to control groups of the input channel faders, for use by FOH
engineers. In this case they are used to group mono and/or stereo channels together under control of a single master
fader, for easier control during a mix.
For the Monitor mix engineer, controlling channel faders is of secondary importance to controlling Aux sends from
channels, and so the functionality of VCA Groups has been extended to control of groups of Aux sends as well as
channel faders.
Because there can be up to 24 Auxiliary sends congured on the console, this means that there are up to 24 sets of
VCA groups (each with up to 16 Group Masters), in addition to the set of main channel fader VCA groups.
VCA control of Auxes is only available by activating the Follow Output Solo [FLW] key next to the master faders. The
pair of [FLW] keys for the VST Encoder Rows will not access this function.
It is possible to control only one Aux mix via its VCA masters at any one time.
When setting up Auxilliary VCAs, it is possible to turn the Aux VCA masters mode on or off for each VCA Master, so
‘normal’ VCAs can still be available.
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9.3 9.3 MUTE & VCA GRPS > AUX VCA GROUPS
9.3 MUTE & VCA GRPS > AUX VCA GROUPS
Auxilliary VCA Procedure
1) Select the Aux bus required by selecting the required master fader page [A]-[C].
2) Activate the [FLW] key next to the master faders.
3) Press the [SOLO/SEL] key under the required Aux master fader (or use the solo switches in the Master VST area).
4) Press [VCA] (for VCA 1-8) or [E](for VCA 9-16).
5) The FaderGlow for any active VCA master faders will change to white and the faders will move to show the offsets
being applied to the Aux feeds from those channels assigned to the VCAs. At this point, the VCA Master [SOLO/SEL]
keys have no function. The VCA [ON] switch controls the Aux send On/Off on the member channels.
6) To select another Aux for adjustment, press the required bank key [A]-[C], solo the required aux (or solo directly on
the VST screen), and press [VCA] or [E]. To exit, press [SOLO CLEAR] and de-select [FLW].
Note: To set up Auxilliary VCAs, press the MUTE & VCA GROUP [SETUP] button after step 4 and assign member
channels to that Aux VCA group as per the normal VCA group setup procedure (use the channel [SOLO/SEL] buttons
to choose members, then press [SETUP] to exit). Note that Aux VCA Groups have to share the same input assign-
ments as the ‘normal’ channel VCAs.
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10.0 10.0: MONITORING
10.0: MONITORING
The monitoring system has three main sources - Monitor A, Monitor B, and Headphones. These are fed by a choice
of sub-sources, including Solos, LCR, Talkback return, and two user-dened stereo sources where the left and right
singals can be patched independantly
Monitoring System
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10.0 10.0: MONITORING
10.0: MONITORING
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10.1 10.1: MONITORING > CONTROL
10.1: MONITORING > CONTROL
The following console monitoring controls are located to the right of the master faders in the Master Bay, except for
[INPUT PRI] (Solo Input Priority), which is located with the SOLO button group on the upper section, to the right of the
Master Bay.
There are three main monitoring outputs - A, B, and headphones. Monitor A is an LCR output, Monitor B is an LR out-
put, and the headphones output is LR to the headphone socket on the front of the console. You can select a variety of
sources for the monitoring outputs, including two user-denable sources, USER A and USER B, with separate left and
right assignments.
Solos can be blended with the main monitor feed for contextual solos, and an Auto function can be set to select PFL or
AFL depending on your solo selections.
Solo system control is described in the Monitoring SETUP section. The console’s Solo system logic and general use is
described in the next chapter (11).
Monitoring: Console Controls
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10.1 10.1: MONITORING > CONTROL
10.1: MONITORING > CONTROL
MNTR B - Moni-
tor A/B Select Inactive Active
Select either the A or
the B monitor to be
displayed on the meter,
to be controlled by
the fader, and to be
switched on and off by
the [ON] switch.
Both Monitor A and B sources are always active -
(respecting their individual On/Off status'). The MTR B
button changes metering and control assignment.
Monitor A Monitor B
Monitor Fader Range Low Range High
Control monitoring
volume level.
-Innty +10dB
AFL and PFL
indication
These two LEDs show if
an active solo is a PFL
or an AFL.
Monitoring
Setup Active
Display the Monitor Set-
up Page on the master
screen.
The [SETUP] key glows blue when it is active. SETUP Active
Headphones
Level Range Low Range High
Control the headphones
volume level.
The headphone output socket is located under the arm-
rest at the front of the console, and is designed for head-
phones with impedances in the range 50-600 Ohms.
OFF +20dB
Solo Trim Range Low Range High
Trims source SOLO
Level.
This control is SOLO context sensitive. It is possible to
set a different trim for each of the 24 outputs in addition
to a global input solo trim level.
-10dB +10dB
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10.1 10.1: MONITORING > CONTROL
10.1: MONITORING > CONTROL
Solo Blend Range Low Range High
monitor_con_solo-
Blend.jpg
Adjust the background
level of the monitoring
source signal.
The level of the non-solo source adjusted from OFF to
-10dB to allow solos to be heard in the context of a mix
that has a reduced level.
OFF -10dB
Solo Input Pri-
ority Active
monitor_con_soloIn-
Priority.jpg
Activate Input Priority
Mode
Allows an Output Solo to remain active, whilst an Input
Solo is temporarily activated ‘over the top’ of it. When
the Input Solo is deactivated, the Output Solo’s audio
will return to the Solo Bus. For more detail, see the Solo
System reference chapter 11.
Input Priority
Active
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10.2 10.2: MONITORING > SETUP
10.2: MONITORING > SETUP
All monitoring source assignments for MONITOR A, B, and HP are assigned in the monitoring setup page, as well as
monitoring delay.
Monitoring Setup
Monitoring
Input Solo
Source
Choose either input
channel PFL, AFL, or
'AUTO' as the Input
Solo source.
The AUTO option works by selecting PFL when only
one solo is active and AFL when more than one solo is
active.
Output solo
source
Choose either output
buss PFL or AFL as the
Output Solo Source.
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10.2 10.2: MONITORING > SETUP
10.2: MONITORING > SETUP
Solo-In-Place
Mode
Activate the SOLO-IN-
PLACE mode.
This is a destructive mode for use only during sound-
checks or rehearsals. When a channel is soloed in SIP
mode, all other channels are muted so that only the
soloed channel is heard, in its stereo position, at the
console’s mix outputs.
Mute Safe
Mode
Enable the Mute Safe
(SIP isolation) congu-
ration mode.
If (MUTE SAFE) is active the Mute safe state from the
Input channels can be toggled with the Channel’s SEL
Key. The state for a given channel is indicated by that
channel’s Mute Safe LED. NOTE: This conguration
mode is disabled when the setup page is exited.
MON SETUP
Mode
Activate the Monitor
Setup sub-page.
The Monitor Setup sub-page parameters become availa-
ble in the VST area of the master screen. See below for
more details.
Auto Cancel
Mode
TBC
LCR Source
Select
Select the mix master
output sources for the
monitor outputs A, B,
and HP
For the Monitor A (LCR) output you can choose LCR
and/or C; for the Monitor B and Headphone outputs you
can choose LR and/or C. This selection cannot be com-
bined with the User A or User B sources, but solo and
talkback options are concurrent.
User A / B
Source Select
Select the user-dened
output source for the
monitor outputs A, B
and HP.
Choose EITHER User A or User B as a main source
for the monitoring output. This selection cannot be
combined with the LCR, LR, or C sources, but solo and
talkback options are concurrent. Each of the monitoring
outputs has its own individual USER A / B assignment.
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10.2 10.2: MONITORING > SETUP
10.2: MONITORING > SETUP
Input Solo Se-
lect
Route the Input Solo
Signal to the Monitor
A, B, and headphone
outputs.
The Input Solo signal is dened in the SOLO section of
the monitor setup screen. Each of the monitoring outputs
has its own individual IN SOLO assignment.
Output Solo
Select
Route the Output Solo
Signal to the Monitor
A, B, and Headphone
outputs.
The Output Solo signal is dened in the SOLO section of
the monitor setup screen. Each of the monitoring outputs
has its own individual OUT SOLO assignment.
Talkback Re-
turn Select
Route the Talkback
Return Signal to the
Monitor A, B, and Head-
phone outputs.
Each of the monitoring outputs has its own individual
Talkback Return assignment.
Monitor Follow
A
Force the Monitor B
and/or Headphone
source assignments
to be the same as the
MONITOR A assign-
ment.
Monitor output
format
Selects one of the
stereo format options to
be the listening format
for the Monitor A, B, and
Headphone outputs.
LR - left source to left monitor out and right source to
right monitor out • RL - left source to right monitor out,
right source to left monitor out • LL - left source to left
and right monitor outputs • RR - right source to left
and right monitor outs • Mono - left and right source is
summed and fed to left and right monitor. The Centre
signal is not affected. Each of the monitoring outputs has
its own individual FORMAT selection.
Monitoring de-
lay - Fine Range Low Range High
Fine Control of the mon-
itoring delay time.
Zero Delay NEEDED
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10.2 10.2: MONITORING > SETUP
10.2: MONITORING > SETUP
Monitoring
delay Range Low Range High
Adjust the monitoring
delay.
The monitor delay allows the headphones and/or monitor
speakers to be time-aligned to the output from the main
PA system, when working at a distance from the PA
speakers. The delay applies to all three monitor outputs
(Monitor A, B, and Headphones).
Zero Delay 2000mS
Monitoring
delay ON
Activate/Deactivate the
monitoring delay.
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10.2.1 10.2.1: MONITORING > MON SETUP
10.2.1: MONITORING > MON SETUP
Mon Setup is a sub-screen of the Monitoring setup screen for setting up fundamental congurations such as physical
patching and naming for the User sources.
MON Setup
User A and B
Patching
Assign the input, indi-
vidually, for the User A
and User B monitoring
sources.
When selected, the source assignment screen is
displayed on the touch screen. You can assign any
available input, individually, to the left and right User
channels - including console I/O, group busses, mix buss
channels, and solo channels.
User A and B
Labelling
Label the User A and B
monitor sources.
When selected the keyboard input screen is shown on
the touch screen. You can relabel the 'USER A' and
'USER B' via the screen keyboard or a connected USB
keyboard.
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10.2.1 10.2.1: MONITORING > MON SETUP
10.2.1: MONITORING > MON SETUP
Outputs Solo
Assign
Assign individual Output
Solos to Monitor A,
B, and Headphones
outputs.
When selected, an output assignment screen is dis-
played in the master touch screen area. You can select
individual output buss solos for the specic monitor
output. This is useful for stage monitoring applica-
tions where the solos of in-ear monitor mixes could be
programmed to appear only on Monitor B for example,
which could have an in-ear headphone system connect-
ed to it. In this example, conventional wedge monitor
mixes could be programmed to appear only on Monitor
A when soloed, where Monitor A could be connected to a
wedge speaker system.
DIM Level Range Low Range High
Adjust the monitoring
DIM Level between 0
and –innity.
The DIM function is only activated if the Return Talkback
function is activated via the GPIO facility.
-innty 0dB
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11.1 11.1: SOLO > PRIMARY BEHAVIOUR
11.0: SOLO System
AFL, PFL and SIP
The solo system on the Soundcraft Vi3000™ comprises a non-destructive PFL and AFL Solo capability from Inputs
and Outputs, and also the option of a destructive Solo-In-Place mode, for use only during soundchecks or rehearsals.
Solo-In-Place mode has to be enabled from within the Monitor Setup and changes the mode of operation of the Solo
System. It is automatically cancelled if the Monitor Setup screen is closed, to ensure that it cannot accidently be left
on.
PFL and AFL Soloing (SIP Mode OFF)
• Soloing a single Input locally generates a PFL or AFL Solo onto the Solo Bus, depending on the mode selected in the
Monitor Setup page (default is AUTO, see next point).
• If the Input Solo Mode is set to AUTO in the Monitor Setup page, soloing more than one Input locally (by pressing
and holding the rst Solo/Sel switch then pressing others, or switching off AUTO CANCEL mode) will generate an AFL
Solo onto the Solo Bus from all soloed Inputs. If a single output is soloed, the solo will be PFL.
• The PFL feed from Mono Inputs is taken after the channel Pan control so the signal heard on the Monitor outs will
reect the Pan setting. If the Input is a Stereo Input, the PFL feed is left channel to left Solo Bus, right to right.
• The AFL feed from Mono or stereo (paired) Inputs is stereo and follows the channel Pan.
• Soloing an Output (either locally or via a VCA Master Solo) generates an AFL or PFL Solo, depending on the mode
selected in Monitor Setup (default is AFL for outputs).
The post-fade Output signal is switched onto the Solo Bus.
• In all cases when SIP Mode is OFF, operation of any Solo will switch the audio onto the Solo Bus and the Monitor
section will be automatically switched so that the Solo audio replaces the previous monitor source selection (if any)
assuming that IN Solo and/or OUT Solo have been selected as a Monitor Source in the Monitor Setup Page.
Solo-In-Place Soloing (SIP mode ON)
• Soloing an Input generates a ‘destructive’ SIP Solo, actually muting or dimming all other Inputs which are not Soloed
or set to Mute Safe, as if you had pressed their channel ON switches. Other channels which are subsequently soloed
will be unmuted. The amount of dimming is controlled by the SOLO BLEND control on the front panel.
• Soloing an Input (or group of Inputs) by soloing a VCA Master that the input is assigned to, generates a SIP Solo on
all Inputs in the VCA Group.
* The Input signal is not switched onto the Solo Bus, and the Monitor section does not switch the Solo Bus audio to
override the monitor source selection (you hear the soloed signal(s) via the Master LRC busses directly.
• Soloing an Output generates a normal Output AFL or PFL Solo (according to the mode selection made in Monitor
Setup), the same as if SIP Mode was OFF. The Output signal is switched onto the Solo Bus and the Monitor section
switches so that the Output
Solo audio is heard on the Monitors, replacing the previous monitor source, if any.
SOLO SYSTEM BEHAVIOUR
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11.3 - 11.3 11.3: SOLO > AUTO CANCEL BEHAVIOUR
11.0: SOLO System
Solo Operation Logic
Activating Solos
A Solo is activated when any Solo/Sel switch on the console is pressed, as long as the following is true:
• Gang Mode is not active
• VCA or Mute Group Setup page is not open
• Input or Output Fader Page Setup page is not open
Clearing Solos
• All active Solos can be cleared by pressing the momentary Solo Clear switch in the Master Section of the console.
This switch illuminates when any Solos are active.
• Solos can be switched off manually.
• Solos can be cleared by pressing other Solos, if AUTO CANCEL mode is enabled (see later in this chapter).
Input Priority Mode
When Input Priority is enabled, via the I/P PRI button in the master bay, it allows an Output Solo to remain active,
whilst an Input Solo is temporarily activated ‘over the top’ of it. When the Input Solo is activated, its audio replaces the
Output Solo audio on the Solo Bus, although the Output’s Solo/Sel switch remains illuminated. When the Input Solo is
deactivated, the Output Solo’s audio will return to the Solo Bus.
HINT: Input Priority mode is normally used by Monitor engineers, who tend to work with an Output Solo always active,
but occasionally need to solo an input to troubleshoot a problem. The Input Priority mode ensures that they automati-
cally return to the Output Solo they were listening to, after the Input Solo is deactivated.
Autocancel Mode
In the majority of cases in live sound mixing, only one channel is soloed at any time, so it has become common prac-
tice for solos to ‘autocancel’ so that pressing any solo cancels the previous one, and only one solo can be ON at any
time. This speeds up operation by eliminating the need to switch solos off before soloing the next channel. In some ap-
plications however, such as line checking, it is necessary to keep one channel soloed as a shout talkback feed whilst
soloing others, so additive solo is required in these cases. The {Autocancel} On/off switch in the Monitor Setup page
allows the behaviour to be set according to requirements. It is also possible to solo more than one channel or bus at a
time even if {Autocancel} mode is ON, this is achieved by holding down the rst solo whilst pressing the next. This kind
of additive solo is temporary however, and the next solo to be pressed will cancel all of the active solos.
Input priority and Autocancel mode work together if both enabled so that Output Solos cancel among themselves and
input solos cancel among themselves, but Input Solos do not cancel Output solos or vice versa.
Follow Output Solo Mode
A key feature of modern digital consoles is a method of assigning the channel faders to control Aux send levels for
monitor mixing. On the Vi3000, this mode is called ‘Follow’ mode, meaning that the Input faders will Follow the selec-
tion of the Output bus solo, which doubles as a bus select switch.
Follow mode is engaged using the distinctive, triangular Follow Output Solo [FLW] keys. There are three [FLW] keys:
one fader key and two Vistonics area keys. Only one key can be active at any one time (or none can be selected).
Selecting Follow mode for the Vistonics area means that a horizontal row of Vistonics encoders will be assigned
across the whole console to the contribution levels of the currently soloed bus. There is one [FLW] key for the upper
Vistonics row and one for the lower row. To use Follow mode on Vistonics area, the Vistonics screens must have all
processing views deselected.
• If Follow Solo is NOT active for faders or Vistonics encoders, pressing a Group or Aux Output Solo will activate an
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11.4 11.4: SOLO > FOLLOW OUTPUT SOLO
11.0: SOLO System
Output Solo, and it will also display the EQ/Dyn/Misc touch screen area for the Soloed Output, on the Master section
touchscreen (in the space normally occupied by the Input Meter overview display).
• If Follow Solo IS active for either faders or Vistonics encoders, pressing a Group or Aux Output Solo/Sel will work
as described above, and will also switch the input channel faders or encoders to be assigned to the Soloed bus’s
contributing sends (equivalent to ‘Sends On Faders’ on some other consoles). The Faderglow colour will illuminate in
this case to indicate the type of bus contributions being assigned to the input faders: Orange for Aux sends and Green
for Group sends (although the faders themselves have no function with Group sends - only the channel ON keys are
used).
• If a Matrix Output Solo/Sel is pressed, regardless of the setting of Follow Solo modes, the Output Solo will be acti-
vated, the EQ/Dyn/Misc touch screen for the Matrix Output displayed, and the channel faders will be assigned to the
contribution levels from the Outputs to the Soloed Matrix Output. The Faderglow of input faders will change to Pale
Blue (Cyan) to indicate Matrix contributions are now being controlled.
Whilst an Output Solo is active, the [FLW] key can be pressed at any time to drop out of Follow mode and switch back
to channel faders for global level adjustments, and then pressed again to drop back into Follow mode for adjustments
to contribution mix again.
The [FLW] key for fader area is automatically switched on when you load the Monitor
Default Show, as this functionality is primarily intended for monitor mixing.
Note: the [FLW] key for fader area has an additional function in allowing VCAs to control the Aux sends of input chan-
nels. See chapter 9 for details.
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12.0 12.0: METERING
12.0: METERING
Level metering in the Vi 3000 goes from +18dB to -36 dB. It represents the actual output level in dBu from its analogue
line output. Gain reduction is displayed in the Range 0 - 20dB. The Vi 3000 uses full oating-point calculations in its
DSP, which means that the audio signal inside the mixer cannot be overloaded. If the signal level is too high at the
master output meters, it is necessary only to pull down the master fader level until the correct level is obtained.
There are meters on every channel and bus master, plus metering for every console path in the default Master Bay
touchscreen areas.
The touchscreen meters can be touched to assign the third (right-hand-end) input bay mapping.
Console Metering
4.3: INPUT CHANNEL > DYNAMICS
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4.3 INPUT CHANNEL > De Esser
Input Level
Meter
Shows the input level
at the selected point in
the input channel signal
path.
The overload (OVL) LED indicates an overloaded ana-
logue input (mic preamp clipping).
Input Gain Re-
duction Meter
Shows the overall gain
reduction of the limiter
and compressor stages,
if they are engaged.
Vi3000 USER MANUAL
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12.1 12.1: METERING > INPUTS
12.1: METERING > INPUTS
Each input channel has an input meter and every input meter has two parts: A 20--segment level meter (top), and a
9-segment Gain Reduction Meter (GRM).
Both the measured point in the channel signal ow and the metering peak hold time can be selected in the main set-
tings screen (via the [MENU] button), in the (Settings) tab.
Input Channel Metering
Bus Meters
Show the buss master
signal levels.
Bus Masters can be congured as stereo channels,
therefore the Bus Master Strip level meters have left
and right meters (i.e. the left and right channels share
a single set of controls, but note that this feature is re-
served for a future release). The GRM shows the overall
gain reduction of the limiter and compressor, if they are
engaged. The Dynamics from Stereo Bus Masters are al-
ways linked, therefore both GRMs show the same value.
The overload LED indicates a value that is higher than
Full Scale (analogue output-stage clipping).
Mix Master
Meters
The L,R and C Output
Masters each have a
Level Meter and a Gain
Reduction Meter. The
L and R masters share
a stereo meter, and the
C master has a mono
version.
The overload LED indicates a value that is higher than
Full Scale (analogue output-stage clipping).
Monitor Bus
Metering
The monitor section has
a stereo level meter, but
there is no GRM associ-
ated with the monitor.
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12.2 12.2: METERING > BUSSES
12.2: METERING > BUSSES
Bus Master Metering
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13.0 13.0: EDIT & LIBRARY SYSTEM
13.0: EDIT & LIBRARY SYSTEM
The Copy/Paste function allows the settings of any channel, bus, FX section or processing element to be copied and
pasted to any number of other channels, saving set up time and helping eliminate errors.
The Copy and Paste modes also work with the console’s powerful Library functionality. This allows you to select any
set of parameters in use on the desk and store them in the internal library, independant of the Show Files, and export
to or import from a USB storage device.
If the console is in either copy or paste mode a yellow bar appears across all the Input Screens and the console
switches into ‘Copy/Paste’ mode, which is where the surface is used for item selection rather than control. In addition,
the VST area of the Master Bay Vistonics displays the Lexicon FX blocks (for convenient selection) and the {LIB}
Library access button.
In these modes control of channel strip audio from the Vistonics screens is not possible.
Edit & Library System - Copy, Paste, Undo, and Library Storage
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13.1 13.1: EDIT > COPY, PASTE, UNDO
13.1: EDIT > COPY, PASTE, UNDO
13.1: Copy, Paste, Undo
Ranges of channels or busses, individual channels or busses, processing blocks (eg EQ), or even individual param-
eters (eg mic gain control) within a processing block can be copied to the clipboard then pasted to another channel,
block, or range. This includes the console’s internal Lexicon FX units.
The last paste operation can be quickly reversed with the UNDO function.
Copy Options
• Put the console into Copy mode.
• Copy A Channel Or Bus Master
In copy mode, select or deselect a full input channel or output bus by pressing its [SEL] Key. Select a range by holding
the [SEL] Key of the rst Channel and pressing [SEL] of the last Channel. When a whole channel or range of channels
are selected, the grey Channel border is replaced with a yellow border.
Some parameters or process blocks are not included with a channel or bus copy by default, but most can be added
to the copy by selecting them individually (see below). The only ones that CANNOT be added are the Insert Point and
Direct Output settings.
Parameters not included with a whole input channel copy but that CAN be added individually are: Input 1/2 switch,
Input 1 & 2 patch, Mic Input Gain and all associated switches (48V, PAD, Phase Inv etc), Fader and Mute, VCA & Mute
Group Assignment, FX settings.
Parameters not included with a whole bus copy but that CAN be added individually are the output patch and FX set-
tings.
• Copy A Block
Select or deselect a function block by touching that block’s Touch eld. Indication that a whole function block is select-
ed is shown with a wide yellow indicator in the top left corner of the eld.
• Copy A Paramter
Select a single parameter by touching the corresponding Rotary encoder or by pressing the small key to the left of the
encoder. To make access to parameters easy while in Copy mode, enter the ‘Zoom’ mode with a long press on a touch
eld. Alternatively you can enter the Zoom mode, before you activate Copy mode by pressing the touch eld in the
normal way and entering Copy mode.
A selected parameter is indicated with yellow text in the Parameter Label. Note that not all parameters can be selected
individually; in some cases a set of parameters will automatically be selected when one of the set is touched.
If only a set or a single Parameter from within a block is selected then a small yellow indicator is displayed.
Copy, Paste,
and Undo Active
Put the console into
Copy mode.
Used for selecting channels, processing blocks, and
parameters and copying them to the clipboard. In copy
mode, the console [SEL] keys illuminate in blue to indi-
cate their function as selects rather than as Solos.
Copy Mode
Active
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13.1 13.1: EDIT > COPY, PASTE, UNDO
13.1: EDIT > COPY, PASTE, UNDO
• Copy FX
To make selection of the source and destination Lexicon FX units easy, a set of four FX-select encoders appears on
the central screen in both Copy and Paste modes. The selection is made by either touching the relevant encoder or
pressing the corresponding Vistonics button beside the encoder. If the FX unit is assigned to a channel or bus then the
units can be selected by touching the FX block on the channel strip.
Note that only the parameters relating to the currently active FX Type are copied/pasted for each unit. For example, if
LEX1 is is selected, and is currently set to the Small Hall FX type, then only the Small Hall parameters will be copied.
Paste Active
Enter paste mode to
Paste any channels,
processing blocks,
parameters, or Lexicon
FX settings (selected in
Copy mode) to a new
destination.
To paste anything selected in Copy mode, press [Paste]
to enter Paste mode, then select the destination channel
by pressing its [SOLO/SEL] button or touching any VST
eld on the channel. The clipboard content is immedi-
ately copied to each selected channel. Once you have
nished, press the [PASTE] button again to exit Paste
Mode and enter normal operation.
IMPORTANT! Remember to switch PASTE mode off
immediately after use, otherwise accidental pasting
of the clipboard will occur the next time you touch a
screen or press a Solo/Sel.
Paste Mode
Active
Undo Edit
Undo the last paste
operation.
Copy Mode
Active
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13.2 13.2: EDIT > LIBRARY BASICS
13.2: EDIT > LIBRARY BASICS
The Libraries functionality enables various elements of the console, eg EQ section, Dynamics section, or complete
channels and busses, to be copied from the desk and stored in the Library system. Later these items can be retrieved
and pasted from the Library to any destination channel or bus on the console. You can also export complete Libraries
or individual entries to a USB stick, allowing you to move Libraries between consoles.
The {LIB} button appears in the bottom left corner of the VST section in the Master Bay Vistonics screen when in ei-
ther Copy or Paste mode. It works in much the same way as the basic copy and paste mode. To Paste from the library
simply hit the [PASTE] button, select a library item, then touch a target on the console. To Copy to the Library, put the
console in Copy mode, select console blocks (see the Copy/Paste section) then hit the {LIB} button. The selection will
be saved to the currently loaded Library. To save selections to a different Library, you must load that library - or create
a new one - rst.
Libraries
Library Access ACTIVE
Access Library functionality while in Copy (Copy
To Library) or Paste (Paste from Library) modes.
Include Send
Levels
Include Send Levels in Library Copy and Paste
operations.
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13.2 13.2: EDIT > LIBRARY BASICS
13.2: EDIT > LIBRARY BASICS
The Library File System
The Library le system itself comprises a system of folders that reside on the console’s internal ash drive. The folder
structure is preset to comprise a top-level Library folder, within which are sub-folders called Categories, corresponding
to the various types of functions that can be stored in the Library (EQ, Dynamics, Channels, and so on). Within each
Category, the actual Library settings are stored - these are called Entries. This structure and the names of the folders
are xed and cannot be modied.
Also, only elements that have a Category can be stored individually to the Library – For example, there is no Category
Library - Library Folders
4.3: INPUT CHANNEL > DYNAMICS
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13.2 13.2: EDIT > LIBRARY BASICS
13.2: EDIT > LIBRARY BASICS
for the Input stage (gain, PAD etc) or the Aux send parts of the channel strip, so these parameters cannot be stored to
the Library other than as part of complete channel strips using the Input Channel Category.
The Misc Category is intended for storing combinations of channel or bus parameters. Currently, only a combination of
EQ and Dynamics can be stored in the Misc category, but this may be extended with a future software update.
Default Library
The console comes with one pre-installed Default Library. This Default Library contains factory presets for a variety of
common applications. These factory default library entries are ‘read-only’ and cannot be deleted.
A mechanism exists for the default entries in the Default Library to be updated via a special update procedure. New,
modied or additional default entries may be released from the factory from time to time in the form of a web download
that can be copied to a USB stick and transferred to the console.
New Entries can be stored in the Default Library, alongside the read-only factory default Entries, or one or more new
Libraries can be created which will then only contain user-stored Entries.
User Libraries
In addition to the Default Library, as many additional new Libraries can be created as required. Either a new empty
Library can be created or the existing Default Library can be duplicated using the Save As function, creating a new
Library that also contains the factory default Entries. When a new empty Library is created, only the folder structure is
created – the Library itself contains no Entries and needs to be populated by the user.
The only limit to the number of Libraries or entries that can be created is available disk space in the console, but the
le size of each Library entry is very small (typically less than 100kB for individual single channel Entries).
Vi3000 USER MANUAL
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13.3 13.3: EDIT > LIBRARY FILE SCREEN
13.3: EDIT > LIBRARY FILE SCREEN
The Library le system appears in the Master Bay Vistonics screen when the {LIB} button is pressed in Copy or Paste
Mode. It allows you to navigate the console library and perform import/export operations with connect USB storage
devices.
Important! In Copy mode you must have your intended target library loaded before copying.
LIBRARY FILE SCREEN
File Path
Always shows the currently selected directory,
and the le path to it.
Copy Mode
Active
Library
Navigates directly to the Library directory.
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13.3 13.3: EDIT > LIBRARY FILE SCREEN
13.3: EDIT > LIBRARY FILE SCREEN
DIrectory UP
Navigate the le tree upwards, to the next 'par-
ent' directory.
Name Folder/
File
Name the curently highlighted Library or library
item.
Delete Folder/
File
Delete the currently highlighted Library or Library
item.
You cannot delete a Library that
is currently loaded.
Save As
Save a copy of the library under a new name.
New Library
Create a new (empty) User Library.
The {NEW} button only appears
at the Library directory level.
Select Folder/
File
Select the highlighted item.
Libraries that are currently load-
ed will have the {SEL} button
and be labelled in yellow text.
Libraries that are not loaded
have the {LOAD} button.
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13.3 13.3: EDIT > LIBRARY FILE SCREEN
13.3: EDIT > LIBRARY FILE SCREEN
Load Library
Load the highlighted Library.
Export/Import
Library/Item
Import or export a Library or Li-
brary item to or from the selected
USB storage device.
For example, with a Library item selected in
the internal Library (right hand side of the le
screen) and a USB storage device selected,
hitting the Export arrow will copy the selection
into currently selected Library on the storage
device, into the correct category.
USB Storage
Select
Select a connected USB Storage device.
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14.0 14.0: SNAPSHOTS, CUELISTS, FILTERS
14.0: SNAPSHOTS, CUELISTS, FILTERS
Snapshots are records of parameter settings across the console. Snapshots are stored in and recalled from cues in
the cuelist. Cues can also trigger (or be triggered by) timecode, MIDI, and GPIO events. The ‘scope’ of a snapshot
describes which parts of the console are included in the snapshot recall, and which parts are left out. Scope is set
individually for every snapshot.
There is a seperate snapshot ltering system call ‘global ltering’ which affects all snapshots. This uses the [ISO] but-
tons on the console. The global ltering system can isolate console channels, blocks, and prameters from both snap-
shot and show le recall.
Details on all aspects of snapshots, cue lists, and global ltering are included in this reference chapter.
Snapshots, Cuelists, and Global Filtering
4.3: INPUT CHANNEL > DYNAMICS
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14.1 14.1: SNAPSHOTS, CUES > CONTROLS
14.1: SNAPSHOTS, CUES > CONTROLS
14.1: Snapshot, Cuelist, and Global Filter Console Controls
Snapshot/Cues
Setup Active
Access snapshot and
cue ltering set-up
page in the Master Bay
tpouch screen.
Show setup
screen
Data Sockets Active
Accept USB Storage
devices for show
storage and Media
playback.
There are two more USB sockets on the rear of the
console.
Show setup
screen
Undo Action
Undo the effect of
pressing the [RECALL],
[NEXT], or [LAST]
buttons.
Store Snapshot Active
Store a snapshot of the
current console state
into a new cue and
open up the Snapshot/
Cue settings page in the
Master Control screen.
The new cue will be stored and numbered between the
currently selected cue and the next. For example, if you
have selected cue 2 of 3 and then press the [STORE]
button, the new cue will be numbered 1.5. If you have
cue 3 of 3 selected, the new cue will be numbered 4.
Store snap-
shot
The main console snapshot controls are found in the ‘SNAPSHOTS’ group of buttons in the Master Bay. The ‘ISO’
(Isolate) button in the channel strips also plays an important role by allowing you to keep selected channels and sec-
tions ‘protected’ from snapshot (and Show) recall.
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14.1 14.1: SNAPSHOTS, CUES > CONTROLS
14.1: SNAPSHOTS, CUES > CONTROLS
Preview Mode Inactive Active
Make the cue list avail-
able for preview via the
cue selection buttons
[LAST], [NEXT], [UP},
and [DOWN].
When Preview Mode is deactivated, the cue list will
return to the cue selected before Preview Mode was
activated.
Normal
Activate Pre-
view Mode
Recall Last Cue
Select AND recall the
previous cue in the cue
list.
Recall Next
Cue
Select AND recall the
next cue in the cue list.
Recall Selected
Cue
Recall a cue that has
been pre-selected with
the [UP] and [DOWN]
keys
Up / Down Cue
List
Pre-Select cues by
scrolling up and down
the cue list. Press [RE-
CALL] to load that cue.
Isolate From
Recall
Isolate ('protect') this
channel or selected
parameters from the ef-
fects of snapshot recall
or Show recall.
The [ISO buttons are found on the console channel strips.
This function requires the GLOBAL FILTER parameter set to 'On' (default) in the Snapshot
settings screen. Isolate whole channels by pressing that channel's [ISO] button. Isolate
sections, processing blocks, and so on by holding an [ISO] key down and selecting those
blocks/sections. Any isolated channel or selection will not be affected by the RECALL of a
snapshot from the cue list.
If you have 'LOAD ISO WITH SHOW' (Snapshot Set-up) set to 'No' then your selections will
also be isolated from a Show load. See the Snapshots Filtering And Isolation section below
for more information. In addition to it's usefulness in performance, the ISO function can also
be useful for updating snapshots with new settings. For example, you could update a chan-
nel's EQ settings, isolate it, then recall cues and 'UPDATE CUE' with the new settings.
4.3: INPUT CHANNEL > DYNAMICS
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14.2 14.2: SNAPSHOTS, CUES > CUELIST
14.2: SNAPSHOTS, CUES > CUELIST
14.2: Cuelist Control
Cue Selection
Select next and previ-
ous snapshots in the
cue list.
Like the [UP] and [DOWN] buttons on the console, these
buttons select the cue but do not recall a snapshot.
Pressing [RECALL] will recall a selected snapshot.
These buttons are also used to select multiple cues,
together with the (SELECT) and (MULTI SELECT) keys.
Delete Cue
Delete selected cue /
cues.
You will be asked "Are you sure you sure you want to
delete the selected cue/s?" and given response options
(YES) or (NO).
The Cue List shows all stored cues in the current Show’s cuelist in several columns of information. A large cuelist and
controls appears in the Master Bay touchscreen area when the Snapshots Controls [SETUP] button is pressed or
when a snapshot is stored. The cuelist is also displayed next to the channel meters in the the Master Bay touch screen
during normal operation.
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14.2 14.2: SNAPSHOTS, CUES > CUELIST
14.2: SNAPSHOTS, CUES > CUELIST
New Cue
Store a snapshot of the
current console state
into a new cue.
The new cue will be stored and numbered between the
currently selected cue and the next. For example, if you
have selected cue 2 of 3 and then press the [STORE]
button, the new cue will be numbered 1.5. If you have
cue 3 of 3 selected, the new cue will be numbered 4.
Duplicate Cue
Duplicate the currently
selected cue or cues.
If multiple cues are selected, the duplicates will be stored
sequentially, after the nal cue in the selection. Duplicate
cues are renamed with a 'D_' prex.
Move Cue
Move the selected cue
or cues to a new posi-
tion in the cue list.
The (MOVE) button becomes the (DROP) button when
selected.
Select Cue
Add the currently high-
lighted cue to a selec-
tion of multiple cues.
To create a multi-selection of non-contiguous cues, high-
light cues with the (UP) and (DOWN) buttons and click
(SELECT) to add them to the selection.
Multiselect
Cues
Create a contiguous
selection of multiple
cues.
To select multiple, contiguous cues, highlight the rst or
last in the selection, click (MULTI SELECT), then select
the range with the (UP) and (DOWN) buttons.
Select All Cues
Select all cues in the
current cue list.
4.3: INPUT CHANNEL > DYNAMICS
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14.2 14.2: SNAPSHOTS, CUES > CUELIST
14.2: SNAPSHOTS, CUES > CUELIST
Update
Snapshot
Update the snapshot in
the currently selected
cue to current console
settings.
Show
Timecode
Show the recall time-
code for all cues in the
cue number column of
the cue list.
Renumber
Cuelist
Renumber all cues in
the cue list as consecu-
tive integers.
Cue names, which may incorporate the original cue num-
bering, remain unchanged.
Scroll The Cue
List
Scroll through the cue
list using the encoder.
Usually faster than the Up and Down buttons.
Apply
Changes To
Scoped
Parameters In
Selected Cues Inactive Active
Mode used to apply
new settings to selected
cues.
Select {START} to enter this mode. You can then use the
scope settings to lter process and channel selections,
and use the cue list's cue-selection functions to choose
which cues will be affected. Only 'scoped' selections will
be applied to selected cues when you click the (APPLY}
button. You can click the {CANCEL} button at any time to
leave this mode.
Normal
Operation
Enter 'Apply
Changes
Mode
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14.3 14.3: SNAPSHOTS, CUES > CUE DETAILS
14.3: SNAPSHOTS, CUES > CUE DETAILS
14.3: Cue Details
Four segments / columns of each cue entry in the cuelist can be touched to enable extended functionality via the Mas-
ter Bay Vistonics VST area. For example, by touching the Cue 2 entry in the cue list, in the MIDI column, that cue’s
MIDI functions (MIDI-based recall and a MIDI message output list) will be available in the VST area.
Also, touching the column headers in the cuelist will disable or enable that aspect of all cues. For example, touching
the MIDI column header will disable MIDI functions in all cue recalls. Touching again will enable them.
4.3: INPUT CHANNEL > DYNAMICS
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14.3.1 14.3.1: CUES > CUE NUMBER/TIMECODE
14.3.1: CUES > CUE NUMBER/TIMECODE
14.3.1: Cues: Number and Timecode
Timecode On/
Off
Activate MIDI time-
code-based recall for
this cue.
Copy Timecode
Copy the current incom-
ing MIDI timecode to the
cue's recall TIMECODE
elds.
Set Timecode Range Low Range High
Manually set or adjust
the MIDI timecode
at which the cue is
recalled.
Encoders adjust H (Hours), M (Minutes), S (Seconds),
and F (Frames).
0 time
dependant on
eld
Selecting a cue number in the cue list gives access to that cue’s basic settings, plus MIDI timecode recall event set-
tings and the GO TO CUE ‘local’ sequencing function.
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14.3.1 14.3.1: CUES > CUE NUMBER/TIMECODE
14.3.1: CUES > CUE NUMBER/TIMECODE
Enable Cue Inactive Active
Enable or disable this
cue.
Enabled cues are shown in white in the cue list. Disabled
cues are shown 'greyed out'.
Cue Disabled Cue Enabled
Enable Cue Inactive Active
Enable or disable this
cue.
Enabled cues are shown in white in the cue list. Disabled
cues are shown 'greyed out'.
Cue Disabled Cue Enabled
Go To Cue
Number Select Range Low Range High
Set a following cue
number - to be recalled
a set amount of time
after this cue has been
recalled.
Can be very useful for ring a number of events from one
cue activation.
First Cue Last Cue
'Go To Cue' On Inactive Active
Activate the GO TO
CUE functionality for
this cue.
OFF ON
'Go To Cue'
Time Range Low Range High
The amount of time that
will elapse before the
'GO TO CUE' cue is
recalled.
0.5 Secs 30 Secs
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14.3.2 14.3.2: CUES > SNAPSHOT / CUE NAME
14.3.2: CUES > SNAPSHOT / CUE NAME
14.3.2: Snapshot detail
Enable UA
Realtime Rack
Snapshot Re-
call
Enable snapshot recall
for connected Sound-
craft / Universal Audio
Realtime Racks.
Snapshot Re-
call Enable
Enable or disable the
snapshot in this cue.
This is enabled by default, though you can choose to
disable it and therefore only trigger cue-based events
such as MIDI outputs and GPO events.
Snapshot Notes
Activate keyboard entry
for snapshot notes. You
can use the on-screen
keyboard or an external
USB keyboard.
Clear Notes
Screen
Display Notes
Screen
Selecting a snapshot name in the cue list gives access to that cue’s snapshot-specic settings and functions.
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14.3.2 14.3.2: CUES > SNAPSHOT / CUE NAME
14.3.2: CUES > SNAPSHOT / CUE NAME
Scroll The Cue
List
Scroll through the cue
list using the encoder.
Usually faster than the Up and Down buttons. Cue Enabled
Scroll The Cue
List
Scroll through the cue
list using the encoder.
Usually faster than the Up and Down buttons. Cue Enabled
XFade On
Activate snap-
shot-to-snapshot cross
fading function
Can be very useful for ring a number of events from one
cue activation.
First Cue Last Cue
Crossfade Time
Setting
Adjust duration for
snapshot crossfades.
100mS 30Secs
Switches
30 Secs
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14.3.3 14.3.3: CUES > MIDI
14.3.3: CUES > MIDI
14.3.3: Cue MIDI Detail
MIDI Input
Triggering
Enable
Activate the MIDI input
recall trigger for this
cue.
When active, this cue will be recalled when the speci-
ed MIDI message is received from the specied MIDI
device.
MIDI In
Message Type
Select a message type
to be the cue recall
trigger.
New VST area elds will be activated depending on
which MIDI message type is selected. For example, if a
Note On message is selected, only the {NOTE VALUE}
eld will be available. If a Controller message is select-
ed, then {CONTROLLER NUMBER} and {VALUE} will
be available. When any valid message is selected, the
{CHANNEL} eld becomes available.
Selecting the MIDI column in a cue list entry gives access to that cue’s MIDI input trigger and output settings.
The output section denes an event list of MIDI messages that are sent when the cue is triggered. Note that some
options rely on, or are governed by, global MIDI settings, accessed via the Settings menu.
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14.3.3 14.3.3: CUES > MIDI
14.3.3: CUES > SNAPSHOT / CUE NAME
MIDI In Mes-
sage Learn Inactive Active
Activate Learn mode
for MIDI input message
type.
When LEARN mode is active, the next MIDI message
received will be entered into the MIDI message elds.
Normal
Operation
Learn Mode
Active
MIDI Input
Channel
Select a MIDI device
as the recall trigger
'carrier'.
MIDI devices are set up in the master MIDI Settings
section, though default to numbered (and available) MIDI
inputs and channels. A Global device is also available,
which defaults to 'OMNI' but can be customised in the
master MIDI settings section.
MIDI Output En-
able/Disable Active
Enable or Disable MIDI
output for this cue.
A Cue's MIDI output consists of a message event list that
is transmitted when the cue is triggered.
Cue MIDI Out
enabled
MIDI Output
Event Number Range Low Range High
Set the MIDI output
event number to be
edited.
There are up to 20 MIDI output events available for each
cue.
1 20
MIDI Output
Event List
When selected, the
MIDI event list for this
cue is displayed in the
'section scope' section
of the snapshot settings
screen.
MIDI Out Event
Message Type
Select a message type
for the selected MIDI
event.
New VST area elds will be activated depending on
which MIDI message type is selected. For example, if
a Note On message is selected, the {NOTE VALUE}
and {VELOCITY} elds will be available. If a Controller
message is selected, then {CONTROLLER NUMBER}
and {VALUE} will be available. When any valid message
is selected, the {CHANNEL} eld becomes available.
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14.3.4 14.3.4: CUES > GPIO
14.3.4: CUES > GPIO
14.3.4: Cue GPIO Detail
GPI On Active
Enable GPI triggering
for recall of this cue.
Enable GPI
for this cue
GPI Virtual Pin
Select Range Low Range High
Select a virtual GPIO
pin as a recall trigger for
this cue.
0 80
Selecting a the GPIO column in the cue list gives access to that cue’s GPIO (General Purpose Input Output) settings.
The VST screen is split into GPI (input) and GPO (output) sections. The inputs section sets an input to be used as a
recall trigger for this cue, while the output section denes an output to be triggered when the cue is recalled. The cue
GPIO system uses ‘virtual pins’ that are mapped to physical pins in the master GPIO settings screen.
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14.3.4 14.3.4: CUES > GPIO
14.3.4: CUES > GPIO
GPI Pin Steal
'Steal' a virtual GPIO pin
that is being used by the
main GPIO system.
Stealing a GPIO pin deactivates the GPIO mapping that
is set up in the main GPIO Settings section.
GPI Pin Steal
'Steal' a virtual GPIO pin
that is being used by the
main GPIO system.
Stealing a GPIO pin deactivates the GPIO mapping that
is set up in the main GPIO Settings section.
GPI Physical
Pin
Displays the physical
pin number that corre-
sponds to the selected
virtual pin.
Console
Blackout Active
Sets a 'console black-
out' for this snapshot.
The blackout turns off all console lights except for two
that will deactivate the blackout.
Activate
Blackout for
this cue
GPO On Active
Enable the GPO trigger
functionality of this cue.
GPO Enabled
for this cue
GPO Virtual Pin Range Low Range High
Select a virtual pin as
the the GPO assign-
ment for this cue.
0 80
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14.3.4 14.3.4: CUES > GPIO
14.3.4: CUES > GPIO
GPO Physical
Pin
Displays the physical
pin number that corre-
sponds to the selected
virtual pin.
HiQNet Venue
Number
Select a HiQNet Venue
Number
0 100
HiQNet On/Off
Enable HiQNet function-
ality for this Cue
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14.4 14.4: SNAPSHOTS > SNAPHOT FILTERS
14.4: SNAPSHOTS > SNAPHOT FILTERS
14.4: Snapshot Filtering
Global Filter, Snapshot ISO, Show ISO
Snapshot ltering is a way of preventing certain settings on the console from changing when a Cue is recalled. There
are two different reasons why this is useful, and therefore there are two different types of snapshot ltering: Global
Filtering (also called Isolation), and Snapshot Scope.
Global Filtering only affects recall and is controlled with the console’s [ISO] buttons or via the Global Edit mode; it
stays on the desk when set and applies to ALL Cues that are recalled.
Snapshot Scope can be used to create partial snapshots; it is a specic lter that is stored with each Cue,and con-
trols what data that Cue’s desk snapshot will recall.
The Global Filter (or ISO) and the Snapshot Scope work together in series, so in order for a parameter to be recalled
from the Snapshot memory, it must have its Scope setting set to ON, and must NOT be isolated. Scope defaults to ‘all’
for snapshots, so you can ignore it unless you specically want to lter a snapshot.
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14.4.1 14.4.1: SNAPSHOT FILTER > SCOPE
14.4.1: SNAPSHOT FILTER > SCOPE
14.4.1: Snapshot Scope
Show/Hide
Scope
Show or Hide the scope
settings in the touch
screen and VST areas.
Scope defaults to include all desk parameters, so you
can hide scope and ignore it if you do not wish to use it.
Select All/None
Process blocks
Select or deselect ALL
process blocks to be
within the scope of this
cue.
It can be very useful to make a Cue which, when it is recalled, only affects a specic area of the console - a ‘Partial’
snapshot. For example, you could make cues that will only set the Gains and EQ of all the channels, but leave the
fader values unchanged.
There are two approaches to changing the scope of a cue. With (SHOW SCOPE) active, you will see selectable pro-
cess/section blocks for input and output channels shown in the touch screen area, and a graphic of console channels
shown in the VST area. Both can be used to set a specic scope for the cue.
Note that Scope is actually a non-destructive lter stored with the cue - the full snapshot is always stored and can be
either restored or further limited by changing the cue’s scope settings at any time.
Scope settings are done on a per cue basis, but whatever settings are showing will be used when the next cues is
created.
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14.4,1 14.4.1: SNAPSHOT FILTER > SCOPE
14.4.1: SNAPSHOT FILTER > SCOPE
Block Select
Select or deselect indi-
vidual process blocks
from the scope of this
cue.
Channel Scope
- Select All
Select all channels to
be within the scope of
this cue.
Channel Scope
- Select None
Deselect all channels
from the scope of this
cue.
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14.4.2 14.4.2: SNAPSHOT FILTER > GLOBAL FILTER
14.4.2: SNAPSHOT FILTER > GLOBAL FILTER
14.4.2: Global Filter - Snapshot & Show Isolation
Isolate [ISO]
Select channels, groups
of channels, and
parameter blocks, and
individual parameters
to be part of the Global
Filter.
To quickly Isolate a whole channel or bus from the snapshot recall, press its [ISO] button.
The channel strip border on the Vistonics screen changes to purple to indicate the 'All
Isolated' state. To quickly isolate groups of channels or busses, the Gang function can be
used.
To isolate parts of a channel or buss you can use either the [ISO] button, or put the whole
desk into Global Edit mode.
With an [ISO] button held, simultaneously touch the part of the channel strip that you want
to isolate, in the touch screen. A purple LED appears in the top corner of the block to
indicate that the block is isolated. To isolate an individual parameter, touch the Vistonics
controls for the parameters you want to isolate. You can either zoom into the function block
before selection, so the parameters within that block are already mapped onto the VST
area, or touch and hold a screen block as well as the [ISO] button - that will zoom into the
parameters for the block.
Global Filter
Enable Active
Activate Global Filter
With the Global Filter activated, 'ISO' selected channels
and parameters will be isolated from snapshot recall.
Global Filter-
ing Enabled
Global Filter
Edit Mode Inactive Active
Activate Global Edit
mode.
All desk parameters are available for adding to the Glob-
al Filter, without having to hold down an [ISO] button.
Normal Oper-
ation
Mode ena-
bled
Load ISO With
Show Active
Enable or disable
Global Filter for Show
loading.
When set to YES the console ISO settings will be
cleared and overwritten by loading a new Show le. Set
this to NO to protect isolated sections of the console
from being overwritten by a new Show le.
Show Filter-
ing Enabled
To get manual control back while in a sequence of cues - either of a whole channel, groups of channels, or an element
within a channel, you can use Global Filtering. The console [ISO] buttons are the main tools for this. Once a parameter
is isolated, that parameter will remain under manual control regardless of which desk snapshot is recalled – hence the
term Global lter; however, controls that are isolated can still be stored, so you can update snapshots with the manu-
ally adjusted changes at any time.
To isolate channels, busses, or parts of channels and busses you can use either the [ISO] button, or put the whole
desk into Global Edit mode.
The Global edit lter (LOAD ISO WITH SHOW) can also be used to isolate aspects of the console’s set-up from entire
Show loads. So for example, if you have an engineer who brings a pre-congured show le to a shared console at a
festival, you can isolate the console’s output settings, which would normally be congured specically for the venue,
and protect them from being over-written by the new Show le.
The Global Edit button puts the whole desk into Edit mode so you don’t have to hold the [ISO] button.
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15.0 15.0: TALKBACK & OSCILLATOR
15.0: TALKBACK & OSCILLATOR
Most main oscillator and talback controls are grouped together in the master bay, though there is a Talback Assign-
ment button [TB ASSN] in the VISTONICS button group, which allows manual assignment of the talkback group buss
destinations.
Talkback is a independent signal path, normally from a microphone input to group and physical outputs, activated with
push-to-talk talkback buttons on the console itself. It is most often used to allow the console operator to talk to assis-
tants, performers, and so on. There is also a talkback return, which is an independent input path to the monitor section
- most often used to allow assistants and performers to talk directly to the console operator.
The oscillator is a signal generator provided as a general-purpose calibration and checking tool.
Talkback & Oscillator
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15.1 15.1 TALKBACK & OSC > CONTROLS
15.1 TALKBACK & OSC > CONTROLS
15.1: Talkback And Oscillator Controls
Talkback And
Oscillator Set-
up Active
Open and close the
Talkback and Oscil-
lator setup screen in
the master Vistonics
screen.
Open Setup
Screen
Talkback XLR
Connector
The Talkback Mic input.
There is a switch for phantom power adjacent to the
Talkback Mic connector if required.
Talkback / OSC
Level Control
Control of Talkback or
Oscillator level.
For Talkback, the analogue Mic Amp gain is variable
from 46-66dB by an internal variable preset which is
located on the pcb that is located inside on the base
of the console. This is set by default to a mid-range
setting. If the Oscillator is active, the control adjusts the
Osc level to all destinations. The level setting is stored
independently for TB and Osc.
Talkback To
Internal Active
Route the Talkback
signal to pre-selected
output busses.
The 'INT' routed Output busses are selected via their
{TB} VST keys in the VST area of the master screen
after selecting the [TB ASSN] key (located to the right of
the master screen’s VST area). Switch between the two
sets of 16 busses with the [PAGE A] and [PAGE B] keys.
Sends Talk-
back signal to
pre-selected
Aux/Group/
Matrix Busses
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15.1 15.1 TALKBACK & OSC > CONTROLS
15.1 TALKBACK & OSC > CONTROLS
Talkback to
External Active
Route the TB signal to
the TB OUT external
balanced analogue line
output on the rear of
the console (default), or
to any other available
output.
Change the EXT TB assignment via the Talkback/Oscil-
lator SETUP screen.
Routing
Active
Talkback Pre-
sets 1-3 Active
Press-to-talk (momen-
tary and latching),
user-programmable
Talkback switches.
Select the output routing for the Talkback presets via the
Talkback/Oscillator SETUP screen.
Routing
Active
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15.2 15.2 TALKBACK & OSC > OSC SETUP
15.2 TALKBACK & OSC > OSC SETUP
15.2: Oscillator Setup & Use
Pink Noise
Set the oscillator wave-
form to pink noise.
White Noise
Set the oscillator wave-
form to white noise.
Sine Wave
Set the oscillator wave-
form to sine.
The main oscillator controls appear in the master bay touch screen area when the Oscillator / Talkback [SETUP] but-
ton is pressed. More detailed setup functions appear in the VST area, colour-coded orange.
The oscillator can also be patched to the Input Channels by using the {OSC} key in the Input Channel VST screen.
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15.2 15.2 TALKBACK & OSC > OSC SETUP
15.2 TALKBACK & OSC > OSC SETUP
Oscillator To
Bus
Feed the Oscillator sig-
nal to the precongured
Busses.
OSC To Bus assignments are selected in the Bus Assign
page via the Talkback/Oscillator SETUP screen.
Oscillator To
Talkback
Route the oscillator
signal to the TB Bus
(replaces the TB signal).
Oscillator
Frequency Range Low Range High
Adjust the Oscilator
sinewave Frequency
in the range 20Hz to
20kHz.
20Hz 20kHz
Oscillator Bus
Assignment In Active Active
Used in conjunction with
the Oscillator to Bus
touchscreen switch.
Opens an output assignment page where you can
select any of the 24 group busses or the Mix L, R, and C
outputs.
Close assign-
ment screen
Open assign-
ment screen
Oscillator On In Active Active
Activate the console's
oscillator.
Off On
Oscillator Gain Range Low Range High
Adjust the oscillator
output level
-innity +18dB
Oscillator
Output In Active Active
Assign the oscillator
to individual physical
outputs.
Opens an output assignment page with all available
physical outputs available.
Close patch
screen
Open patch
screen
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15.3 15.3 TALKBACK & OSC > TB SETUP
15.3 TALKBACK & OSC > TB SETUP
15.3: Talkback Setup & Use
Talkback
Source Active Inactive
Select the Talkback
source / input.
If (NONE) is selected the console’s TB mic XLR is auto-
matically selected. The button opens up an assignment
selection page in the master touch screen area where
you can select any available microphone input.
Close source
selection
screen
Open source
selection
screen
Talkback Exter-
nal Output Active Inactive
Assign the Talkback
output directly to indi-
vidual physical console
outputs.
Opens an output assignment page with all available
physical outputs.
Close patch-
ing screen
Open patch-
ing screen
Talkback Pre-
set Assignment Active Inactive
Assign a selection of
output busses to the
selected Talback preset
Close assign-
ment screen
Open assign-
ment screen
Talkback is a communications path between the console operators and the artists, crew, and other personnel.
There is a direct-plug mic input (XLR) on the console surface with the TALKBACK/OSC group of controls. This and
other talkback routing and conguration options are detailed below.
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15.4 15.3 TALKBACK & OSC > TB RETURN SETUP
15.4 TALKBACK & OSC > TB RETURN
15.4: Talkback Return Setup & Use
Talkback
Return ON Inactive Active
Enable the Talkback
return.
Disabled Enabled
Talkback
Return Gain Range Low Range High
Adjust the Gain of the
talkback return input.
-90dB +12dB
Talkback
Return
Assignment Inactive Active
Assign the Talkback
Return input.
Opens an input assignment page with all available
physical inputs.
Open assign-
ment screen
Close assign-
ment screen
Talkback return allows the console operator to route inputs directly into the monitor circuit. This allows assistants within
a venue to talk directly to the console operator. The talkback function must be enabled via the MONITORING setup
page by selecting the TB RET touchscreen button for Monitor A, B or Phones outputs.
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16.0 16.0: MAIN MENU
16.0: MAIN MENU
The Main Menu contains settings for general console systems and functionality, including GPIO and MIDI setup; Show
loading duplicating, and export/import; Tielines (input > output patching) setup, Lexicon FX operation, and more...
MAIN MENU & SETTINGS
Menu Button Active
Access the main menu.
The main menu will appear on the master bay touch
screen. Navigate the menu by selecting the various tabs.
Some tabs map additional controls to the VST area.
Main Menu
Active
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16.1 16.1: MENU > MAIN TAB
16.1: MENU > MAIN TAB
This menu tab is displayed by default whenever the [MENU] button is pressed.
Menu: Main
Brightness
Choose the brightness level for all screens,
illuminated keys, and FaderGlow.
Desk Lock
Lock all switches, encoders, and faders on the
console, except for the [LOCK] key.
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16.2 16.2 MENU > SHOWS
16.2 MENU > SHOWS
Shows are the main vehicle for storing console control settings, cue lists and snapshots, and audio set-up.
Loading Shows, copying Shows to and from USB data storage devices, and creating new Shows is done from the
Show tab in the Main Menu.
The left-hand side of the page displays the shows that are present on the console’s hard drive. If there are any USB
storage devices connected, these will be selectable and displayed on the right hand side of the page. Normally the
front panel USB Data Socket will be used (USB1), but it is possible to connect USB data storage devices to the rear
panel USB sockets (USB2 and USB3), and select the required device with the (USB1), (USB2), and (USB3) buttons.
The up and down-arrows on both Show le lists are used to scroll though the available Show titles.
The user can select a default show or another existing show and use the (SAVE) and (SAVE AS) keys as required.
IMPORTANT: If you want to base your Show on one of the defaults, you MUST save it as a new show before you start
working, otherwise you will not be able to store Snapshots. This is because of the write-protection assigned to the
default Shows.
Menu: Shows
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16.2 16.2 MENU > SHOWS
16.2 MENU > SHOWS
Load Show
Load the selected show
from the hard drive.
Shows can only be loaded from the internal hard drive,
they must be imported from the external storage rst.
NAME
Rename the selected
Show le.
Opens up the text entry screen.
Delete Show
Delete the selected
Show le.
An additional screen will appear asking you to conrm
the deletion or cancel it.
Save
Update the loaded
Show le.
A conrmation dialogue will appear.
Save As
Save all current show
parameters as a new
Show.
You will be prompted to input a new show name via the
on-screen keyboard or an external USB keyboard.
Show Defaults
Display the default
Shows in the Show le
list.
The console comes with some factory-installed shows.
These are not normally visible in the list, but they can
be seen by pressing the (SHOW DFLTs) button. The
default Shows are at the top of the list and are shown
in italic text. They cannot be deleted with the (DEL) key,
nor renamed. If you want to base your Show on one of
the defaults, you MUST save it as a new show before
you start working, otherwise you will not be able to
store Snapshots. This is because of the write-protection
assigned to the default Shows.
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16.2 16.2 MENU > SHOWS
16.2 MENU > SHOWS
Scroll Local
Shows
Scroll through the local
(internal) show le list.
USB Import /
Export
Exporting A Show TO,
or import a show FROM
A USB Data Storage
Device.
Pressing the right-facing arrow will export the current-
ly-selected Show to an installed USB data storage
device. Pressing the left facing arrow will import the
selected USB-stored show to the console's internal
storage. Note that the date and time of the latest save is
shown in both lists.
Export Channel
Labels
Choose to export chan-
nel labels with a Show
export.
Import Channel
Labels
Choose to import chan-
nel labels with a Show
export.
Scroll External
Files
Scroll through the
external (selected USB
storage) show le list.
Export Excep-
tion Files
Exports log les that are
generated if the console
software restarts unex-
pectedly. For use under
instruction of Soundcraft
service personnel.
The les are saved in a folder called ‘Exceptions’ on the
USB stick, and should be zipped and emailed to Sound-
craft support when requested.
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16.2.1 16.2.1 MENU > SHOWS > DATA
16.2.1 MENU > SHOWS > DATA
Menu: Shows - Recorded Data
Some settings are recorded as part of a Show, others as part of a Snapshot, and a few are not
recorded at all.
Please note that in addition to the snapshots in the cue list, a Show has one ‘Show Snapshot’. This
Show Snapshot is generated automatically, and it cannot be seen by the user. It holds the Cue
List, the Show Settings and Audio Settings. These three sets of data contain all of the parameters
that change when a Show is loaded.
The Show Snapshot’s Audio Settings contains all the settings which a standard Snapshot can
store; as a result, the Show Snapshot can be thought of as the last settings before the Show was
unloaded (Assuming you choose to save the existing show before loading a new one). The Show
Snapshot allows the complete status of the console to be recorded with the Show, even if no
Snapshots have been saved.
Settings Recorded Within A Show Snapshot’s Show Settings.
• Monitoring Settings: Monitor Level; Phones Volume; Solo Trims; Solo Blend; Monitor A/B Switch
Status; Monitor On/Off Switch Status; Monitor Source Selection Status; Monitor Setup states.
• All switches in Talkback section.
• Talkback Settings: Talkback Levels; Talkback setup.
• Generator Settings: OSC Level, Type.
• Mute Safe Status (Input & Output).
• System Preferences: Current Sample Rate, Dante/MADI source switch, Dante clock mode.
• Automation Setup States.
• VCA / MG Assign View switches status: Currently selected view.
• Bus Cong States: Bus Formats; Bus Types and Bus Labels.
• Channel Pairing States: Stereo Channel pairings.
• HiQnet Setup.
• MIDI Conguration Setup: MIDI Channel names.
• ISO switch status (Input & Output).
• O/P Vistonics Lock Mtr switch status.
• O/P Vistonics Solo/OnOff/TB switches.
• All parameters in the Menu/Settings page.
• Follow Solo switches.
Menu: Shows - Show File Recorded Data
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16.2.1 16.2.1 MENU > SHOWS > DATA
16.2.1 MENU > SHOWS > DATA
Settings Recorded Within Audio Settings.
This applies to the Show Snapshot and to any standard Snapshots.
• All Channel audio settings on the console: Channel ON; Fader positions; Pan; Channel
Parameters (EQ, Dynamics, input/output, insert).
• All Channel Bus assigns, levels, Pre/Post states and Channel Labels.
• All Channel Patch ordering.
• All I/O routing.
• All I/O controls.
Settings Not Recorded
• PFL/SOLO switch status.
• SEL Switch status.
• LRC Sel switch status.
• Metering values.
• All round Setup switch status.
• User Dened switches (O/P fdr pnl) status.
• All switches in Snapshot Control section.
• Power On switch status.
• Copy/Paste/Undo switch status.
• Set Pre/Post modes switch status.
• Pan/Level toggle switch status.
• Gang Mode switch status.
• Solo Clear switch status.
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16.3 16.3: MENU > GPIO
16.3: MENU > GPIO
You can congure all available GPIO channels in the GPIO (General Purpose Input Output) tab of the main menu.
However, please note that ‘virtual’ GPIO pins can also be assigned to cues in the cue list via the Snapshot SETUP
page. Virtual GPIO Pins are assigned via the function/parameter setting in the main GPIO settings.
The GPIO card (not included with console as standard but available as an optional expansion card and tted as stand-
ard to Stageboxes) provides electrically isolated opto-coupler inputs with integrated current sink (5 to 24 VDC) and
electrically isolated outputs using SPST relay contacts. 5 VDC and Gnd supply pins are provided. Inputs and outputs
are on standard D-type connectors (female).
If a GPIO card is tted, or a Stagebox is attached, the main screen shows a list of available GPIO connection ‘pins’
on the selected hardware (console or stage box). The upper section shown in blue is the GPI (input) section, and the
lower section shown in red is the GPO (output) section. Each entry shows its various congurations across several
columns; these are set in the VST section of the master bay Vistonics.
Menu: GPIO
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16.3 16.3: MENU > GPIO
16.3: MENU > GPIO
Console GPIO
Select
Selects the GPIO in the control surface (16
GPIO channels).
No function unless optional
GPIO option card is tted to ei-
ther of the two expansion slots.
Stagebox GPIO
Select
Selects the GPIO in the
Stage Box (8 GPIO).
(no function unless one or more Stageboxes attached)
GPIO Up / Down
List
Scroll though the GPI
and GPO lists
The currently-selected input and output channels are
outlined in yellow.
GPI On / off
Enable and disable GPI
functionality
Individual setting for each Pin.
Function Select
Select the function to be
assigned to the GPI pin.
Depending on the function selection, the {Parameter}
eld may or may not be available. For example, the
Channel Mute (CH MUTE) function requires a channel
assignment - set using the {parameter} eld; the NEXT
CUE function does not require any additional parameter
Available functions: Channel Mute (CH MUTE); (F KEY
LED); Talkback Input (TB INPUT); Dim Monitors (DIM
MON); VIRTUAL GPI; LAST CUE; NEXT CUE; CUE UP;
CUE DOWN; RECALL CUE; Undo Snapshot (UNDO
SNAP).
Parameter Set
Used to assign addition-
al values to functions
Certain GPIO functions require and additional parameter.
Examples are channel number, virtual GPIO pin number,
and so on.
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16.3 16.3: MENU > GPIO
16.3: MENU > GPIO
Trigger Edge
Select
Choose the triggered
edge for this GPI pin.
Choose either Rising, Falling, or Both. If you choose
'Both' the {Polarity} eld will become available.
Trigger Polarity
Select
Set the Polarity of the
input.
The encoder changes the polarity between positive and
negative. This eld is only available if the {EDGE} eld is
set to BOTH.
GPO On / off
Enable and disable
GPO functionality
Individual setting for each Pin.
GPO Function
Select the function to
be assigned to the GPO
pin.
Depending on the function selection, the {Parameter}
eld may or may not be available. For example, the
Fader Start (FDR START) function requires a channel
assignment - set this using the {Parameter} eld; the
Talkback Output (TB OUTPUT) function does not require
any additional parameter.
Available functions: Channel Mute Fader Start (FDR
START); F KEY; Talkback Output (TB OUTPUT); VIRTU-
AL GPO; Channel Mute (CH MUTE).
GPO Parameter
Used to assign addition-
al values to functions
where required.
Examples include channel number, virtual GPIO pin
number, and so on.
Pulse Time
Set the Relay Pulse
Time.
The relay contacts will revert to their original position at
the end of the pulse time. The encoder adjusts the pulse
length in ms (a blank eld means no pulse is generat-
ed - the relay contacts stay in their new position). It is
suggested that a pulse time is set only when the EDGE
eld is set to ‘RISING’ or ‘FALLING. It is also suggested
that no pulse time is set when the EDGE eld is set to
‘BOTH’.
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16.3 16.3: MENU > GPIO
16.3: MENU > GPIO
Edge Select
Choose the triggered
edge for this GPO pin.
Choose either Rising, Falling, or Both. If you choose
'Both' the {Polarity} eld will become available.
Polarity Select
Set the Polarity of the
output.
The encoder changes the polarity between positive and
negative. This eld is only available if the {EDGE} eld is
set to BOTH.
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16.4 16.4: MENU > SYNC
16.4: MENU > SYNC
The settings in this tab determine the digital audio clock conguration for the console
Menu: SYNC
Internal Clock
Internal sync
selected. (NB: not
a control)
The console runs at 48kHz internal clock only.
External Clock
External clock
source selected
(NB: not a control)
The console switches to External Worclock automatically if
a valid 48kHz wordclock signal is received at the rear panel
BNC Wordclock In connector, or Dante Sync mode is set to
Master.
A green LED adjacent to the Wordclock In BNC socket indi-
cates a valid lock to external clock.
In order for the console to lock to the external clock its fre-
quency must be 48kHz +/-100ppm.
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16.4 16.4: MENU > SYNC
16.4: MENU > SYNC
Dante Sync:
Master Active
Switch console
sync to Dante
Master mode.
When ‘Master’ button is selected, console is forced to switch
to EXT sync, and console then slaves to Dante network clock
(requires correct setting of network sync within external Dante
Contoller software).
Dante Master
mode
activated.
Dante Sync:
Slave Active
Switch console
sync to Dante
Slave mode.
When ‘Slave’ button is selected, console runs on internal
clock and the Dante network is synced to the console internal
clock (requires correct setting of network sync within external
Dante Controller software).
Dante Slave
mode
activated.
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16.5 16.5: MENU > TIELINES
16.5: MENU > TIELINES
TIE Lines are direct connections from an input connector to a output connector. They are a path through the mixer
with no processing and no mixing, and there they do not use up any DSP channels. The console supports up to 24 tie
lines, arranged 8 per page.
Menu: TIELINES
Page Select
Switch between three pages of 24 possible Tie
Line patches.
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16.5 16.5: MENU > TIELINES
16.5: MENU > TIELINES
Tieline Input
Patch Active
Assign a physical input to this Tie Line.
The Red INPUT buttons open
an input assign page in the
main touch screen area where
you can choose any available
console input.
Input Patch
Screen
Tieline Output
Patch Active
Assign a physical output to this Tie Line.
The Red OUT buttons open
an output assign page in the
main touch screen area wher
eyou can choose any available
console output.
Output Patch
Screen
Tieline Label Active
Dene a custom label for the Tie Line.
The Tie Line Label buttons open
up a text entry screen in the
main touch screen. You can also
use an external USB keyboard.
Text Entry
Screen
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16.6 16.6: MENU > FX
16.6: MENU > FX
This is where you congure the four internal FX processors. Please see the Effects chapter of this reference for more
specic information.
Menu: FX
Lexicon FX
Engine 'n' Active
Select a Lexicon FX processor to control
Algorithm selection and related
parameters are mapped to
the VST section of the Master
Bay Vistonics screen. works in
parallel with any FX processing
icon found within a channel or
bus processing strip.
Most importantly, this page
shows an overview of where
each FX unit has been
assigned, using the input/output
or insert patching screens of the
relevant channel/bus.
FX Edit
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16.7 16.7: MENU > MIDI
16.7: MENU > MIDI
General MIDI setup for the console
MENU: MIDI
List RX
Channels
Display the MIDI input channels in the device list.
The Device List allows you to
specify friendly names for each
MIDI channel or Device ID, to
help with identifying a source or
destination device in other MIDI
setup screens such as the MIDI
Events list in the Cue List.
List TX
Channels
Display the MIDI output channels in the device
list.
The Device List allows you to
specify friendly names for each
MIDI channel or Device ID, to
help with identifying a source or
destination device in other MIDI
setup screens such as the MIDI
Events list in the Cue List.
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16.7 16.7: MENU > MIDI
16.7: MENU > MIDI
List TX Devices
Display the MIDI output Device IDs in the device
list.
The Device List allows you to
specify friendly names for each
MIDI channel or Device ID, to
help with identifying a source or
destination device in other MIDI
setup screens such as the MIDI
Events list in the Cue List.
MIDI Device
Name
MIDI Device Name display
Allows the friendly name to
be entered using on-screen
QWERTY keyboard.
Scroll MIDI
Device List
Fast-Scroll through the device list with the
encoder.
MIDI In Enable/
Disable Active Inactive
Enable / Disable All MIDI input activity.
Disable MIDI
In
Enable MIDI
In
Global MIDI
Input Channel
Set the Global MIDI input channel
Global MIDI
Input Device ID
Set the Global MIDI input Device ID
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16.7 16.7: MENU > MIDI
16.7: MENU > MIDI
MIDI Timecode
Enable Inactive Active
Enable MIDI Timecode Input
Timecode
Disabled
Timecode
Enabled
MIDI Timecode
Frame Rate
Sets desired frame rate in FPS for outgoing
timecode events and incoming timecode.
When enabled, the Show name
displayed in the Master Bay
touchscreen is replaced by the
timecode display.
Timecode
Display On/Off
Enable or disable the timecode display in the
Master Bay touchsceen area.
MIDI Out
Enable/Disable Inactive Active
Enable / Disable All MIDI output activity.
Disable MIDI
Out
Enable MIDI
Out
Global MIDI
Output Channel
Set the Global MIDI output channel
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16.8 16.8: MENU > LOG
16.8: MENU > LOG
This page displays any errors that have occured since the console was last powered-up. These would usually be com-
munications errors between the various components in the system such as control surface, local rack, and stagebox.
The most recent message is also displayed at the top right of the master section’s main screen, in the Error Log Dis-
play Area. The message is cleared from the main screen after the Log page has been viewed by the user. Note that
the Log page can be reached as described above, or by touching the Error Log Display Area on the main screen.
MENU: LOG
Error Expand/
Compact
Expand or compact the
selected error message.
Expanded error messages wrap the text so the whole
error message can be viewed, at the expense or the
number of errors viewable at the same time.
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16.8 16.8: MENU > LOG
16.8: MENU > LOG
Automatic
Scrolling
Cause the most recent
message to be dis-
played as the current-
ly-selected one
Clear Log
Clear the error log list.
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16.9 16.9: MENU > SETTINGS
16.9: MENU > SETTINGS
Miscellaneous settings for the console, including the date and time, plus input meter source point and general meter
peak hold time, delay, EQ, graphic EQ, and Dante / MADI source selection.
MENU: SETTINGS
Set Date And
Time Active
Map console date and
time settings controls to
the VST section of the
Master Bay Vistonics
panel.
Date And
Time settings
Meter Peak
Hold Set Range Low Range High
Adjust the console me-
tering Peak Hold time
from 0 to 12 Seconds.
0 Secs 12 Secs
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16.9 16.9: MENU > SETTINGS
16.9: MENU > SETTINGS
Set Meter In
Point
Determine the metering
point for the input chan-
nel level meters.
There are four choices for the input meter tap, from
left to right: After the analogue mic gain (before digital
trim and lters); after the digital trim and lters (before
the Gate/EQ/Dynamics); after the Gate/EQ/Dynamics
(before the fader); after the fader.
Graphic EQ
Large/Small
Mode Range Low Range High
Choose between Large
and Small Graphic EQ
control modes.
Choose ‘Large’ 30-fader mode for fast access on multiple
faders, at the expense of access to the input faders, or
choose ‘Small’ (eight output faders) mode when access
to input faders must be retained at all times. Frequency
bands can be scrolled in banks of four or eight bands,
using the Output Fader page buttons.
Small GEQ Large GEQ
Set Delay Units
Change the units used
in input, output, and
monitoring delay adjust-
ments.
You can choose between milliseconds, metres, or feet
and inches.
EQ bandwith
units Range Low Range High
Choose the the unit
for bandwidth controls
in the EQ sections
throughout the console
Selected either Octaves or Q-factor (dened as the ratio
of frequency to bandwidth). The direction of the control is
reversed between the two settings: In Q mode, clockwise
narrows bandwidth, in Octaves mode, clockwise widens
bandwidth.
Q-Factor
Octave Band-
width
Enable NEXT
and LAST Inactive Active
Enable the [NEXT] and
[LAST] cue list naviga-
tion buttons nearest the
operator.
[NEXT]/
[LAST] at
front of desk
disabled
[NEXT]/
[LAST] at
front of desk
enabled
DANTE / MADI
Select Range Low Range High
Switch MADI/Dante
input between MADI
and Dante sources.
See hardware reference 4.2 for operational details.
Dante
selected
MADI
selected
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16.10 16.10: MENU > SYSTEM
16.10: MENU > SYSTEM
System monitoring and HiQnet setup.
In normal operation, the main System Monitoring Overview Display Area is located at the top right of the Master Bay
touch screen, and the Error Log Display Area is just below it. Within the System Monitoring Overview Display Area
each hardware device and the HiQnet™ network state is represented with a coloured label. The label colour indicates
the overall state of the system monitoring page. A green label indicates that this device is running correctly, whereas a
red label indicates an error condition.
Error and warnings are displayed in the Error Log Display Area.
To access detailed System information, enter either though the main menu by pressing [MENU] then (System), or
by touching the System Monitoring Overview Display Area. When the System page has been opened, there are 4
sub-pages accessed via the touch-pads on the right hand side: DESK, LOCAL I/O, STAGE BOX and HiQnet™.
MENU: SYSTEM
System Monitoring and HiQnet/VM² Setup
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16.10 16.10: MENU > SYSTEM
16.10: MENU > SYSTEM
Desk
Information
Display the current
status of the desk’s 4
bays.
The numerical data displayed for each bay gives the
revision number of the rmware currently installed in
each bay. This information may be needed by Sound-
craft service personnel if technical or service support is
requested.
StageBox
Information
Display a graphical
representation, and the
current status, of the
cards in the Stage Box.
This also shows the status of the PSU(s) and the status
of the voltages for the analogue (VA) and digital (VD)
power supply rails. The cooling fan status is also report-
ed. A blue label under a card display indicates an input
function, and a red label indicates an output function.
If the card conguration of the Stagebox is changed
(for example when AES input or output cards are tted
in place of the analogue cards), the card labels will be
automatically updated with the new card types if the
‘Recong’ button on the Stagebox front panel has been
pressed after changing the cards.
VM² / HiQnet
Set-up
Enter the VM² setup
screen
VM² stands for ‘Vistonics Microphone Monitoring’. It
takes advantage of Harman’s HiQnet control network to
allow a level of integration between a HiQnet-enabled
AKG Wireless Microphone system, and a Soundcraft Vi
Series console.
This section is also used to set up a network IP address
for use with both ViSi IPad remote control app, and the
Soundcraft Realtime Rack host control for Universal
Audio Plug-ins.
Please see the HiQnet/VM² reference chapter 18 for
more detail.
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17.0 17.0: FX
17.0: FX
The Vi3000 comes with Lexicon FX processors. Each FX Unit can be inserted into any Output/Main Master bus or into
any Input Channel, or it can be patched as an FX Return to an Input Channel or fed from an Aux send.
Each FX Unit supports up to 30 different professional LEXICON® Effects with algorithm and parameter adjustment
integrated into the console’s Vistonics II environment - editable either from the relevant channel’s bay, or from the
Master Bay via the FX Overview page in the main menu.
All Parameters from the four Effects Units and for all Effects Type are stored in the desk Snapshots.
LEXICON® Effects Format
Depending on the selected effect type, the FX processor works internally in one of three formats: Mono, Mono In/Ste-
reo Out, or Stereo In/Stereo Out.
The FX processor always has Stereo Inputs and Outputs. If the FX Type needs only a Mono Input, the Left and Right
Input Signal are summed together. If the FX Type outputs only a Mono Signal then the Output Signal is distributed to
both the Left and Right Outputs. The MIX Parameter adjusts the ratio between the original (dry) signal and the effects
(wet) signal. The stereo format of the dry signal wil be maintained.
Lexicon FX
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17.0 17.0: FX
17.0: FX
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17.1 17.1: FX > USING THE FX
17.1: FX > USING THE FX
To patch an FX unit as an Aux send destination, you must rst select either the output or the insert point of the chosen
Aux master. A fast way to get to the aux channel strips is to press the [All BUSSES] button. See the Outputs reference
chapter 7 for more options).
If you use the insert point of the aux bus you can then patch the output of that aux directly to the master LR bus, for
example. Once assigned as an insert, you will be able to edit the select FX unit directly by touching the FX block in the
output channel’s touch screen channel strip.
If you patch the main output of the aux bus to the input of an FX unit, you then need to select an input to patch to the
output of that FX unit.
Each FX processor can be patched in three ways. Aux Masters can be patched to the inputs of FX units; input channel
inputs can be patched to the outputs of FX units; and both input and output insert points can be patched to FX units.
Patching status is visible in the FX overview page, though actual patching of FX units takes place in the relevant
source / destination channel strips. For example, to patch an FX unit to an input channel you would go to that input
channel’s channel strip (input block).
So, to use an FX unit in a traditional aux send / return setup you would patch an aux output to the inputs of an FX unit,
then patch an input channel to the outputs of the same unit.
As well as the VST {tap tempo} button, the console’s F-Keys can be assigned to the tap tempo function (see below for
details).
Using The Lexicon FX Processors
As An Aux Send
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17.1 17.1: FX > USING THE FX
17.1: FX > USING THE FX
To patch an input channel as an FX return, select that input’s input block from the top of the touch screen channel
strip, then use either the {IN 1 PATCH} or {IN 2 PATCH} option to assign the output of an FX unit to that channel.
Touch the Insert/output/delay block in the channel strip, then use the BUS OUT PATCH or INS PATCH options in the
VST section to bring up the relevant patching options onto the touch screen. Simply select the Lexicon In page from
the options on the right hand side of the touch screen and then select the required FX unit.
If you are patching the output of a stereo aux bus, then left and right buttons will appear in the patch screen. For nor-
mal routing you should assign each to the corresponding inputs of an FX unit.
As An FX Return
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17.1 17.1: FX > USING THE FX
17.1: FX > USING THE FX
To patch an FX unit into the insert point of an input channel, select the Panning/Insert block from the bottom of the
touch screen channel strip, then use the {INSERT} patch option to select an FX Unit. Touch the (FX) button on the top
left of the touch screen to show the available FX selections.
Once assigned you will be able to edit the selected FX unit directly by touching the FX block in the input channel’s
touch screen channel strip.
As An Insert
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17.1.1 17.1.1: FX > USING THE FX > TAP TEMPO
17.1.1: FX > USING THE FX > TAP TEMPO
For each effect that offers TAP Tempo (Tempo synchronisation using key press), the bottom left key {TEMPO} is used
as the TAP button.
In live situations it is often advantageous to be able to easily control the TAP function from a large button which is per-
manently accessible on the console surface. The large F1-4 keys below the master screen are assigned by default on
Vi3000 to the tap function of FX1-4, so no further setup is needed as long as shows are built from the Vi3000’s internal
default shows. However if you are importing a show from a Vi 4 or 6 console, only the rst two of these F keys may be
mapped to the tap function. The information that follows will allow any F key to be mapped to the tap function of any
FX unit in the event that a Vi4 or 6 show is being used.
In order to assign the TAP functions of FX units to the F-keys, proceed as follows (refer to the screenshot above):
. Press the [MENU] button and select the {GPIO} menu tab.
. Ensure the {LOCAL I/O} button is selected and scroll the input and output sections down to the VGPI and VGPO Pin
settings. For LEX3, select VGPI Lex Tap3 and VGPO Lex Tap3.
. Set the parameters for the VGPI and VGPO as shown in the above picture, and ensure the input and output are
switched ON.
Use a similar procedure for other FX units.
Tap Tempo Functionality
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17.2 17.2: FX > ALGORITHMS
17.2: FX > ALGORITHMS
For each of the four FX processors an individual FX Type can be selected. The FX Types are grouped into the follow-
ing categories: Reverb, Delay, and Miscellaneous. You can select algorithms by hitting the {TYPE} button in the VST
section of any FX page.
FX Algorithms and Parameters
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17.2.1 17.2.1: FX > ALGORITHMS > REVERBS
17.2.1: FX > ALGORITHMS > REVERBS
Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed
space. When sound waves encounter an object or boundary, they don’t just stop. Some of the sound is absorbed
by the object, but most of the sound is reected or is diffused. In an enclosed space, reverb is dependent on many
features of that space, including the size, shape and the type of materials that line the walls. Even with closed eyes,
a listener can easily tell the difference between a cupboard, a locker room and a large auditorium. Reverb is a natural
component of the acoustic experience, and most people feel that something is missing without it.
Halls
SMALL HALL, LARGE HALL, DRUM HALL, VOCAL HALL - Stereo
A Hall reverb is designed to emulate the acoustics of a concert hall – a space large enough to contain an orchestra
and an audience. Because of the size and characteristics,Halls are the most natural-sounding reverbs, designed to
remain “behind” the direct sound – adding ambience and space, but leaving the source unchanged. This effect has a
relatively low initial echo density which builds up gradually over time.
Vocal Hall and Drum Hall reverbs are specically tailored for those uses. Vocal Hall has as lower overall diffusion
which works well with program material that has softer initial transients like a voice. Drum Hall has a higher diffusion
setting which is necessary to smooth out faster transient signals found in drums and percussion instruments.
In addition to general instrumental and vocal applications, the Hall program is a good choice for giving separate tracks
in a mix the sense of belonging to the same performance.
Plate Reverbs
SMALL PLATE, LARGE PLATE, DRUM PLATE, VOCAL PLATE - Stereo
A Plate reverb is a large, thin sheet of metal suspended upright under tension on springs. Transducers attached to the
plate transmit a signal that makes the plate vibrate, causing sounds to appear to be occurring in a large, open space.
The Plates in the Vi4 FX units model the sound of metal plates with high initial diffusion and a relatively bright, colored
sound. Plate reverbs are designed to be heard as part of the music, mellowing and thickening the initial sound. Plate
reverbs are often used to enhance popular music, particularly percussion.
Chamber Reverb
Stereo
Historically, recording studio chambers were oddly shaped rooms with a loudspeaker and set of microphones to collect
ambience in various parts of the room. Chamber programs produce even, relatively dimensionless reverberation with
little color change as sound decays. The initial diffusion is similar to the Hall programs. However, the sense of size
and space is much less obvious. This characteristic, coupled with the low color of the decay tail, makes these pro-
grams useful on a wide range of material - especially the spoken voice, to which Chamber programs add a noticeable
increase in loudness with low colour.
Reverbs
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17.2.1 17.2.1: FX > ALGORITHMS > REVERBS
17.2.1: FX > ALGORITHMS > REVERBS
Room Reverb
Stereo
Room produces an excellent simulation of a very small room which is useful for dialogue and speech applications.
Room is also practical when used judiciously for fattening up high energy signals like electric guitar amp recordings.
Plate Reverbs
SMALL PLATE, LARGE PLATE, DRUM PLATE, VOCAL PLATE - Stereo
Ambience Reverb
Stereo
Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often used for
voice, guitar or percussion.
Spring Reverb
Mono In/Stereo Out
A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker and the other acting as a micro-
phone—connected by a simple set of springs. The characteristic ‘boing’ of a spring is an important component of many
classic rock and rockabilly guitar sounds.
Reverse Reverb
Mono In/Stereo Out
Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest series of
reections heard rst that then become quieter over time, the Reverse reverb has the softest reections (essentially
the tail of the reverb) heard rst, and then grows louder over time until they abruptly cut off.
Spring Reverb
Mono In/Stereo Out
A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker and the other acting as a micro-
phone—connected by a simple set of springs. The characteristic ‘boing’ of a spring is an important component of many
classic rock and rockabilly guitar sounds.
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4.3 INPUT CHANNEL > De Esser
Pre Delay Range Low Range High
Adjust time delay
between the source
signal and the onset of
reverberation.
This control is not intended to precisely mimic the time
delays in natural spaces, as the build-up of reverberation
is gradual, and the initial time gap is usually relatively
short. For the most natural effect, the Pre Delay values
should be set in the range of 10-25 milliseconds. How-
ever, if a mix is very busy or overly cluttered, increasing
the Pre Delay time may help clarify it, and set each
instrument apart from each other.
0mS 100 / 200mS
Reverb Time
Adjust the amount of
time the reverb can be
heard.
Higher settings increase reverberation times which are
usually associated with larger acoustical environments,
but can decrease intelligibility. Lower settings shorten re-
verb times and should be used when a smaller apparent
space or a more subtle effect is desired.
Dependant
on algorithm.
Dependant on
algorithm.
Size
Build-up rate of diffusion
after the initial period
(which is controlled by
Diffusion).
The Size control changes reverb sound from very large
to very small. Generally, set this control to the approx-
imate size of the acoustic space being created, before
adjusting anything else. The size in meters is roughly
equal to the longest dimension of the space. Audio is
temporarily muted when Size is changed.
Dependant
on algorithm.
Dependant on
algorithm.
Diffusion
Initial echo density.
High settings of Diffusion result in high initial echo
density, and low settings cause low initial density. In a
real-world situation, irregular walls cause high diffusion,
while large at walls cause low diffusion. For drums and
percussion, try using higher Diffusion settings.
Dependant
on algorithm.
Dependant on
algorithm.
Shape
Adjust the 'contour'
of the reverberation
envelope.
With Shape all the way down, reverberation builds
explosively, and decays quickly. As Shape is advanced,
reverberation builds up more slowly and sustains for the
time set by Spread. With Shape in the middle, the build-
up and sustain of the reverberation envelope emulates
a large concert hall (assuming that Spread is at least
halfway up, and that Size is 30 meters or larger).
Dependant
on algorithm.
Dependant on
algorithm.
Vi3000 USER MANUAL
®
17.2.1 17.2.1: FX > ALGORITHMS > REVERBS
17.2.1: FX > ALGORITHMS > REVERBS
Reverb Parameters
Spread
Adjust reverb onset and
sustain.
Low Spread settings result in a rapid onset of reverber-
ation at the beginning of the envelope, with little or no
sustain. Higher settings spread out both the build-up and
sustain.
Dependant
on algorithm.
Dependant on
algorithm.
Reverb High
Cut Range Low Range High
Set the frequency of a
6dB/octave low-pass
lter on the reverberat-
ed signal.
It does not attenuate the reections. High frequencies
are often rolled off with this parameter, resulting in more
natural-sounding reverberation. Setting a low frequency
for this parameter can actually shorten the reverb time,
as it damps the audio as it recirculates.
1kHz 20kHz
High Cut Range Low Range High
Adjust the amount of
high frequency content
in the reverberation
tails.
Higher frequency settings increase high frequency
response, creating brighter reverbs; lower frequency
settings create darker reverbs with more bass frequency
emphasis.
1kHz 20kHz
Bass Boost
Frequency Range Low Range High
Set the frequency at
which the transition from
Mid Rt to Low Rt takes
place
This control should be set at least two octaves higher
than the low frequency you want to boost. For example,
to boost a signal at 100Hz, set Bass Boost Frequency
to 400Hz. (This setting works well for classical music.)
Crossover works best around 400Hz for boosting low
frequencies, and around 1.5 kHz for cutting low frequen-
cies.
100Hz 2kHz
Bass Boost
Ratio Range Low Range High
Boost or cut frequencies
below the Bass Boost
Frequency.
The amount of boost or cut required is highly dependent
on the material being processed.
0.2 4
Early Reec-
tion Time Range Low Range High
Adjust the amount of
time before reverb early
reections occur.
1mS 150mS
Vi3000 USER MANUAL
®
17.2.1 17.2.1: FX > ALGORITHMS > REVERBS
17.2.1: FX > ALGORITHMS > REVERBS
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Early
Reections
Level
Adjust the level of early
reections within the
reverb.
0 99
Feedback Delay Range Low Range High
Change the resonant
frequencies of Plate
reverb.
1mS 150mS
Feedback Level Range Low Range High
Adjust a Plate reverb’s
presence and promi-
nence.
-99 +99
Boing
Increase or decrease
the 'spring rattle' in a
spring reverb.
This is a physical characteristic of spring tank reverbs. 0 99
Vi3000 USER MANUAL
®
17.2.1 17.2.1: FX > ALGORITHMS > REVERBS
17.2.1: FX > ALGORITHMS > REVERBS
Vi3000 USER MANUAL
®
17.2.2 17.2.2: FX > ALGORITHMS > DELAYS
17.2.2: FX > ALGORITHMS > DELAYS
Delays repeat a sound a short time after it rst occurs. Delay becomes echo when the output is fed back into the input
(feedback). This turns a single repeat into a series of repeats, each a little softer than the last.
Studio Delay
Stereo
The Studio Delay features up to 1 second of stereo delay and offers a built-in ducker that attenuates the delay output
whenever signal is present at the input. This can be used to keep the original signal from being muddied up by delay
repeats.
2-Tap Delay
Stereo
The 2-Tap Delay is probably best described as an adjustable pong delay where each tap can be individually set in
relation to the delay time. The 2 taps are a calculated percentage of the actual delay time from 1-100% (for example,
if the delay time is 500ms and Tap 1 is set to 50% and Tap 2 is set to 100%, Tap 1 time would be 250ms and Tap 2
time would be 500ms). Narrow spacing of the tap percentages can widen the stereo image of the delay while wider tap
spacing can create rhythmic delay lines.
Modulated Delay
Stereo
The Modulated Delay is enhanced by an LFO (low frequency oscillator) that produces a chorusing effect on the delay
repeats. This is a great delay for guitar and instrument passages that need that “special something.”
Mono Delay
Mono In/Stereo Out
The Mono Delay is the cleanest, most accurate of the delay programs, with up to 1 second of mono delay with panned
output, and the built-in ducking feature.
Pong Delay
Mono In/Stereo Out
This delay effect pans the delay repeats from left to right, while the input signal remains at its original(center) position.
DELAYS
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
17.2.2 17.2.2: FX > ALGORITHMS > DELAYS
17.2.2: FX > ALGORITHMS > DELAYS
Tape Delay
Mono In/Stereo Out
In the days before digital, delays were created using a special tape recorder in which the magnetic recording tape was
looped, with closely-spaced recording and playback heads. The delay effect was created by the tape moving in the
space between the record and playback heads – while delay time was adjusted by changing the speed of the tape
loop. Although very musical-sounding, wow and utter combined with a signicant loss of high frequencies, and to
some extent also low frequencies, are all elements commonly associated with tape recordings.
Reverse Delay
Mono In/Stereo Out
This delay effect emulates the old studio trick of ipping a tape over, playing it backwards through a tape delay, and
recording the effect. The delays “build up” from softer to louder – creating the sensation that the delays come before
the signal.
Tempo Range Low Range High
Enter the 'Tempo' Time.
This time is expressed as tempo in BPM (beats per
minute). Tempo works in conjunction with Delay Time to
set the actual delay time that is heard.
Innity 24 BPM
Tap Tempo
Enter the Tempo time by
tapping.
Repeatedly tap the {TAP] button to automatically set the
delay tempo. The console 'F' keys 1-4 are assigned to
the delay tap tempo.
Delay Time
Controls the length of
the delay time relative
to Tempo.
At the middle of its range, delay repeats are synchro-
nous with the Tempo button; lower values create faster
repeats, while higher values increase the time between
repeats.
Dependant
on algorithm
Dependant on
algorithm
Delay Type Range Low Range High
Choose between Tape
and Digital delay types.
2-Tap Delay algorithm only. DIGITAL TAPE
Delay Parameters
Vi3000 USER MANUAL
®
17.2.2 17.2.2: FX > ALGORITHMS > DELAYS
17.2.2: FX > ALGORITHMS > DELAYS
Tap Ratio Range Low Range High
Controls the Tap ratio
of left and right outputs
relative to the Delay
time.
Specic to the Pong Delay effect, this controls the delay
time offset between left and right taps, expressed as a
ratio of left to right time difference. In the centre the taps
have the same time (1:1).
1:12 12:1
Tap Swap Range Low Range High
Swaps the delay time
tap offset set by the Tap
Ratio.
Specic to the Pong Delay effect - reverses the offset set
by the Tap Ratio control.
L > R R > L
Delay Feedback
Controls the number
of delay repeats by
feeding the delay output
signal back into the
delay input.
This creates a series of delay repeats, each slightly
attenuated until they become inaudible. Higher settings
create more repeats; lower settings reduce the number
of repeats. When this knob is turned fully clockwise, it
engages Repeat Hold – delay repeats play back in an
innite loop, but no further input signal is introduced into
the delay effect. Repeat Hold is available only on Studio,
Mono and Pong Delay.
Low Cut Filter
Frequency Range Low Range High
Frequencies below this
level are attenuated.
Off > 20Hz 20kHz
High Cut Filter
Frequency
Frequencies above this
level are attenuated.
20Hz 20kHz<Off
Smear
Ducking attenuation
amount.
Available only for Tape and Reverse Delays, this param-
eter controls the amount of “smear,” or signal degrada-
tion and frequency loss. The higher the setting, the more
each delay repeat loses intelligibility compared to the
original signal.
0 99
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
17.2.2 17.2.2: FX > ALGORITHMS > DELAYS
17.2.2: FX > ALGORITHMS > DELAYS
Ducker
Threshold Range Low Range High
Set the input signal
level at which ducking
occurs.
Studio, Mono and Pong delays only. Ducking causes de-
lay repeats to be attenuated by a variable amount when
an input signal is present. As the performance pauses,
the delay signal level returns to its normal setting. This
allows the delay to remain as an effect, but not clash
with the original signal. For example whilst a vocalist is
singing, the level of delay is kept down, but in the pauses
the level of the repeats is brought up to provide a smooth
tail to the vocal phrases. The Ducker Threshold sets the
level at which the input signal has to be at for ducking
to cut in – the higher the threshold, the louder the signal
has to be for ducking to occur.
-70dB 0dB
Ducker Level Range Low Range High
Ducking attenuation
amount.
Ducker Level sets the amount of attenuation once the
signal has exceeded the threshold. 0dB is no ducking,
18dB is the maximum amount of ducking to the delayed
signal.
-18dB 0dB
TAP 1 & 2
Tap delay time relative
to displayed delay time
value.
2-Tap Delay only. Sets the percentage of the indicated
delay time that is used for each tap.
0 100%
Tap Level
Adjusts the output level
of Tap 1 and Tap 2.
0 99
Tap Pan Range Low Range High
Adjust the pan positions
in the stereo eld of Tap
1 and Tap 2.
99L 99R
Modulation
Depth
Control the intensity of
modulation, or “depth” in
the Modulated Delay.
Lower settings produce a more subtle chorus effect,
while higher values give a more lush chorusing of the
delay repeats.
0 99
Vi3000 USER MANUAL
®
17.2.3 17.2.3: FX > ALGORITHMS > MISC
17.2.3: FX > ALGORITHMS > MISC
The MISC category provides primarily modulated and pitch-varying effects.
Chorus
Stereo
Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other
signals vary in pitch ver+5y slightly over time. Chorus is commonly used to fatten up tracks and to add body to guitars
without coloring the original tone. Chorus can also be used with discretion to thicken a vocal track.
Flanger
Stereo
This effect was originally created by simultaneously recording and playing back two identical programs on two tape re-
corders, then using hand pressure against the ange of the tape reels to slow down rst one machine, then the other.
The result was a series of changing phase cancellations and reinforcements, with characteristic swishing, tunneling,
and fading sounds.
Phaser
Stereo
The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low fre-
quency oscillator (LFO), creating an oscillating “comb lter” type effect. This effect is very useful on keyboards (espe-
cially pad presets) and guitars.
Tremolo
Stereo (Wet Only)
Tremolo/Pan creates rhythmic changes in signal amplitude. Tremolo is obtained by setting Phase to 0 degrees, and
affects both channels’ amplitude simultaneously. If the Phase is set to 180 degrees, an AutoPanner effect is generat-
ed, with the amplitude of one channel being raised whilst that of the other channel is lowered. Speed settings below
1Hz are recommended in this case.
Vibrato
Stereo (Wet Only)
Vibrato is obtained by smoothly varying the pitch of the signal just sharp and at of the original at a determined rate.
Phase controls whether the pitch of both channels is modulated together, or in an opposite direction.
Miscellaneous FX
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
17.2.3 17.2.3: FX > ALGORITHMS > MISC
17.2.3: FX > ALGORITHMS > MISC
Rotary
Mono In/Stereo Out (Wet Only)
Rotary speaker cabinets were designed to provide a majestic vibrato/choir effect for electronic theater and church
organs. The most well known rotary speaker is the Leslie™ Model 122, which has two counterrotating elements: a
high-frequency horn and a low-frequency rotor with slow and fast speeds. The sound generated as the spinning ele-
ments change speed is truly magical. The swirling, spacious effect is difcult to describe – but clearly recognizable.
The Rotary effect is modeled after a Leslie-style cabinet. The input signal is split into high and low-frequency bands.
The rotation effect is created by a synchronized combination of pitch shifting, tremolo, and panning. Like the physi-
cal cabinet, the high (horn) and low (rotor) frequencies are “spun” in opposite directions. Horn and rotor speeds are
independent, and designed with acceleration and deceleration characteristics to simulate the inertia of the original
mechanical elements. A virtual necessity for organ music, Rotary also sounds remarkable with guitar and electric piano
rhythm parts. In fact, this program is a great alternative to the Chorus and Tremolo effects for any sound source.
Pitch Shift
Stereo
This effect shifts the frequency spectrum of the input signal. Altering the pitch of a sound produces a wide range
effects - from subtle detunes to full interval shifts up or down a two octave range. The Pitch Shift effect is a chromat-
ic shifter, meaning all notes of the scale are shifted by the same interval. Pitch Shift is very useful with guitar tracks,
monophonic synth lines, or where special vocal effects are needed.
Detune
Stereo
Detune adds a slightly pitch-shifted version of the original source, thickening the sound. This creates a particularly
effective simulation of “double-tracking.” This effect is also a great alternative to the Chorus effect, adding the richness
of a chorus without the audible sweep caused by the chorus rate. It is also useful for creating a wide stereo signal
from a mono source, by setting a small detune amount up on one output and down on the other, and panning the two
outputs hard left and right.
Speed Range Low Range High
Sets the speed at which
the modulated effect
cycles.
0.05Hz 16Hz
LFO Depth
Scales the intensity of
the effect.
This control affects the output of the LFO only. It has no
effect on the outputs of the individual waveforms.
0 99
Misc FX Parameters
Vi3000 USER MANUAL
®
17.2.3 17.2.3: FX > ALGORITHMS > MISC
17.2.3: FX > ALGORITHMS > MISC
Number Of
Voices
Controls the number
of additional Chorus
voices.
Hgher amounts add more richness to the Chorus effect. 0 99
Regeneration Range Low Range High
Controls the amount of
modulated signal being
fed back into the input,
creating feedback.
Higher amounts add more resonance to the signal. -99 +99
Diffusion
Creates a time-smooth-
ing effect similar to
diffusion in reverb.
Diffusion can be a subtle effect to add a little warmth to
the chorus.
0 99
Pre Delay Range Low Range High
Determines the amount
of offset between the
two signals that create
the ange effect.
Lower values create a tighter effect, higher values result
in a more extreme “whooshing” sound.
0mS 20mS
LFO Waveform
Selects the wave
pattern used by the
modulated effect.
Select from sine wave, triangle wave, and random.
Phase Range Low Range High
Controls whether am-
plitude or depth change
occurs in both left and
right outputs simulta-
neously or alternates
between left and right
outputs.
0 Degrees 180 Degrees
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
17.2.3 17.2.3: FX > ALGORITHMS > MISC
17.2.3: FX > ALGORITHMS > MISC
Phase Stages
Selects between a 4-,
8-, or 12-state phase
shifter.
Horn Min
Rotary effect only: Min-
imum speed of the HF
rotary horn.
The speed limits are used when the speed parameter is
changed from Slow to Fast.
0 8
Horn Max Range Low Range High
Rotary effect only:
maximum speed of the
HF rotary horn
The speed limits are used when the speed parameter is
changed from Slow to Fast
0.05 8
Stereo Spread
Increases or decreases
the stereo imaging of
the Rotary effect.
0 99
Overdrive Gain
Adjust overdrive gain
to the preamp section
of the rotary speaker
effect.
0 99
Minimum Rotor
Speed
Sets the minimum
speed at which the LF
Speaker will rotate.
Rotary effect only: The speed limits are used when the
speed parameter is changed from Slow to Fast
0 8
Vi3000 USER MANUAL
®
17.2.3 17.2.3: FX > ALGORITHMS > MISC
17.2.3: FX > ALGORITHMS > MISC
Maximum Rotor
Speed Range Low Range High
Sets the maximum
speed at which the LF
speaker will rotate.
Rotary effect only: The speed limits are used when the
speed parameter is changed from Slow to Fast
0.05 8
Doppler Effect
Increases or decreases
the Doppler pitch effect.
The Doppler effect is a rise and fall in pitch experienced
by an observer when a sound source is moving towards
or away from them, due to a compressed or expanded
wavefront.
0 99
Pitch Shift Range Low Range High
Determines the amount
of pitch shift or detune
shift from the original
signal source.
Works best with individual notes. -24 +24
Shift Delay Range Low Range High
Sets the delay time
before the pitch shift or
detune effect is heard
in the Pitch Shift and
Detune effects.
0mS 1 Sec
Feedback
Adjusts how much of
the shifted signal is sent
back through the delay
line in Pitch Shift and
Detune.
For creating cascading arpeggio-type effects. 0 99
Pan Range Low Range High
Sets the pan position
in the stereo eld for
each tap in the 2-Tap
Delay or each channel
of the pitch shift/detune
effects.
Allows the stereo width to be increased by panning ver-
sions of the original signal that have been shifted slightly
up and down, to left and right channels respectively.
99L 99R
Vi3000 USER MANUAL
®
18.0 18.0: VM ²
18.0: VM ²
VM² is a patented feature that allows the status information for HiQnet-enabled AKG Wireless Microphone systems
to be displayed directly within the channel strip that they are connected to. This feature takes advantage of Harman’s
HiQnet network control protocol and brings many benets including streamlining of the workow and increase in speed
of problem diagnosis.
HiQnet-enabled AKG wireless receivers can be connected to the HiQnet network directly, via the AKG Hub4000Q
(HiQnet merge device), from a shared network via an Ethernet Switch.
On the Vi3000, the HiQnet network setup is located in the main menu ([MENU]) under the (System) tab.
Available VM² status’ are shown in the input channel’s input block in the touchscreen, and in the VST section when
that input block is selected. Also, the microphone names appear in the channel label display in the touch screen.
About HiQnet
HiQnet is a network communications protocol developed by Harman which enables various professional audio prod-
ucts within the Harman Pro-audio range to communicate with each other and provides remote control and monitoring
of Harman devices such as power ampliers, powered speakers, DSP processors and microphones. Ethernet is nor-
mally used as the transport method for HiQnet control, as it provides a robust and standardised method of connecting
multiple devices in a network conguration. A Windows application called Audio Architect provides a master control
and monitoring program that allows all equipment on the HiQnet network to be controlled from a single user interface.
On the Vi Series of consoles HiQnet allows error messages generated by other Harman devices to be displayed in
the console’s message log – for example thermal overload messages generated by Crown ampliers. In addition the
consoles are able to transmit a Venue Preset recall - the HiQnet equivalent of a MIDI Program Change – to all other
devices in the network.
VM² - Wireless System Monitoring
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
18.0 18.0: VM ²
18.0: VM ²
HiQnet Connec-
tor
The HiQnet port is an
Ethernet connection on
the rear of the control
surface, adjacent to the
rear USB sockets.
The port is capable of driving standard Ethernet distanc-
es of up to 100m.
Menu Button
The [MENU] button
opens the console's
main menu system in
the Master Bay touch-
screen area.
The console's HiQnet conguration can be accessed by
pressing the main [MENU] button then the SYSTEM tab
and HIQNET layer.
Vi3000 USER MANUAL
®
18.1 18.1: VM ² > HIQNET CONFIGURATION
18.1: VM ² > HIQNET CONFIGURATION
If only one console is being used, and there is no other HiQnet-connected equipment, the Hub4000Q can be directly
connected to the console without using a switch, but in most cases it is better to use one. A computer running System
Architect software may also be connected to the switch, and if a wireless router is included in the network, the AKG
wireless iPhone app may be used for additional monitoring of the microphone data. The same wireless router or
access point can be used to connect the ViSi Remote iPad app for remote control of the Vi3000 console.
Setup of the console involves basic network setup (console IP address and HiQnet Node Address) and assignment of
detected devices to the physical inputs they are connected to.
HiQnet Network Conguration
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
18.1 18.1: VM ² > HIQNET CONFIGURATION
18.1: VM ² > HIQNET CONFIGURATION
IP Congura-
tion Range Low Range High
Select either Dynamic
(DHCP) or Manual
(MAN) IP conifguration.
If you are using a DHCP server to automatically con-
gure the IP setup, wait for several seconds until an IP
address appears in the IP ADDRESS Vistonics control
elds. You will also see it on the far left of the HiQnet
page.
DHCP Manual
IP Address
Entry
Set IP address for the
console.
For use with Manual (MAN) IP Conguration. Use the
row of VST encoders to dial-in the required IP address
for the console.
The available ranges of valid IP addresses are 10.0.0.0
- 10.255.255.255; 172.16.0.0 - 172.31.255.255;
192.168.0.0 - 192.168.255.255. Some IP addresses
within the ranges show are not allowed due to conicts
with other parts of the Vi system – they will be greyed out
and not available for selection.
Subnet Mask
Entry
Set the subnet mask.
For use with Manual (MAN) IP Conguration. Use the
row of VST encoders to dial-in the subnet mask.
HiQnet node
address entry Active
Set the console's
HiQnet Node Address
using the keyboard edi-
tor on the touchscreen.
The HiQnet node address can be any number in the
range 1 – 65,535 but it must be a unique number within
the network in order to avoid conicts with other HPro
devices. You can use Audio Architect to nd out what the
node addresses of other equipment are.
Note that it will take up to 10 seconds for the new ad-
dress to appear after the Enter button on the keyboard
is pressed, and the console will be unresponsive during
this time –this is normal.
Activate
keyboard
entry screen.
HiQnet On Inactive Active
Enable HiQnet func-
tionality.
Once the IP address is set and the HiQnet node address
has been conrmed as unique in the network, you can
enable the HiQnet functionality by pressing the ON but-
ton in the far left Vistonics control. Enabling HiQnet will
cause all the Vistonics controls in the section to change
from greyed-out to orange. A list of information relating to
the current HiQnet setup including a green ‘OK’ indicator
is now displayed on the left side of the HiQnet Setup
page, indicating a healthy connection.
HiQnet
disabled
HiQnet
Enabled
Vi3000 USER MANUAL
®
18.1.1 18.1.1: VM ² > DEVICE LIST
18.1.1: VM ² > DEVICE LIST
The Device list occupies the centre of the HiQnet Setup page, and will initially be completely empty. Once HiQnet has
been turned on, and a HiQnet network is attached to the console, the console will search for any attached AKG micro-
phones and display a list of the microphones found on the network in the left-hand column of the Device List.
Note: It may take up to 30 seconds to discover the mics.
The DEVICE column shows the names of all of the AKG microphones that have been discovered on the network. This
column is automatically populated.
The NET column in the list shows the HiQnet node address of the AKG Hub4000Q to which each microphone is con-
nected.
In the example shown above there is only one Hub4000Q connected, but it is possible for multiple Hub4000Qs to be
connected to the network, and in this case the number in the NET column will enable groups of mics attached to these
different Hubs to be distinguished from one another.
The SOURCE column in the list indicates the connector to which each microphone is associated. In order for the
VM² Device List
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
18.1.1 18.1.1: VM ² > DEVICE LIST
18.1.1: VM ² > DEVICE LIST
console to know on which channel strip to display the VM² monitoring information, it is necessary to associate each of
the microphone devices with a physical connector, which will correspond to the connector that the microphone’s audio
output is connected to.
The LOC button activates the Locate function on the selected AKG receiver. Pressing this will cause the front panel
display of the chosen receiver to ash, allowing it to be more easily identied among a rack of others.
MAP Devices
(Scroll List)
Scroll through the list of
available VM² devices.
Hint: To avoid opening and closing the Audio Patch page,
the MAP DEVICES encoder can still be used to scroll
through the Device List even whilst the Audio Patch page
is still open. The name (truncated) of the currently se-
lected Device can be seen in above the MAP DEVICES
Vistonics scroll encoder.
Locate Devices
Activate the Locate
function on the selected
AKG receiver.
Pressing (LOC) will cause the front panel display of the
chosen receiver to ash, allowing it to be more easily
identied among a rack of others.
Patch Devices Active
Activate the VM² micro-
phone patching screen.
The patching matrix allows all of the physical input
connectors available within the Vi system to be seen and
the relevant connector to be chosen to correspond to
where the currently selected microphone is connected.
The chosen connector is shown in bright blue highlight,
whereas connectors that are already associated with
other AKG devices are shown as greyed-out. A greyed-
out connector can still be chosen as an assignment for
the currently selected microphone, but a dialogue box
will appear in this case to ask if you wish to reassign this
connector.
Patching
Screen Active
Vi3000 USER MANUAL
®
18.2 18.2: VM ² > STATUS DISPLAYS
18.2: VM ² > STATUS DISPLAYS
The console displays VM² wireless system status information in two places - the main channel strip display in the input
channel touch screen area (input block), and in the VST area when the channel’s input block has been selected.
Status Displays
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
18.2.1 18.2.1: VM ² > STATUS > CHANNEL STRIP
18.2.1: VM ² > STATUS > CHANNEL STRIP
The input channel Input block graphic - shown at the top of the channel strip in the Vistonics touchscreen area -
provides instant feedback on the status of VM² microphones via icons for each of the monitoring elements.
Channel Strip Status (Touch Screen Input Block)
Microphone
Muted
Shows microphone
muted state.
Shows red ‘MUTE’ icon if the AKG mic is switched to
muted state. When unmuted, this indicator icon disap-
pears.
Microphone
clipping
Clipping indication
A red ‘C’ is displayed momentarily if the audio within the
wireless mic audio path reaches full scale.
Vi3000 USER MANUAL
®
18.2.1 18.2.1: VM ² > STATUS > CHANNEL STRIP
18.2.1: VM ² > STATUS > CHANNEL STRIP
RF Strength
Show the RF (Radio
Frequency) status of
the connected wireless
microphone.
A red or green ‘RF’ icon is displayed to indicate the
health of the AKG RF level. A green RF indicator is dis-
played when the signal strength at the receiver is strong
enough to enable audio transmission. A red RF indicator
is displayed when the signal strength is too low for audio
transmission or if the transmitter if switched off. The
actual value in dB of the RF signal strength is displayed
in the VST section when the input block is selected.
Battery Level
Seven-segment
transmitter battery level
indication.
Red segments 0-1 indicate one hour or less remaining.
The Amber segment (segment 2) indicates 25 percent of
battery life remaining. The Green segments (segments
3-7) indicate 35-100 percent of battery life remaining.
The number of hours remaining in the transmitter battery
is displayed in the VTS section when the input block is
selected and varies with the type of battery used.
Network Error
Indicates a Network
error.
The system is able to differentiate between a network
error/disconnection and out of range RF or a switched-off
transmitter. In the case of a network error, the AKG ele-
ments only within the input strip overview on all channels
will change to a greyed-out condition.
4.3: INPUT CHANNEL > DYNAMICS
Vi3000 USER MANUAL
®
4.3 INPUT CHANNEL > De Esser
Vi3000 USER MANUAL
®
18.2.2 18.2.2: VM ² > STATUS > VST
18.2.2: VM ² > STATUS > VST
To see more detailed information about the AKG Microphones, the Input section of the channel strip can be zoomed
by touching the Input touch eld at the top of the strip. Three special Vistonics elds are added to the zoom view of
channels that are patched to AKG-associated connectors, giving more detailed information of RF level(bargraph and
numerical signal strength in dB), Battery level (bargraph icon plus numerical readout of remaining battery life in hours),
and the internal gain of the microphone.
Note that this information is display-only, there is no control possible over the AKG microphones, other than with the
Locate (LOC) button. Note also that the input gain control of the Vi microphone input preamp will be automatically set
to 0dB gain and is not available for control on channels that have AKG microphones assigned.
VM² VST Section Information
Vi3000 USER MANUAL
®
18.2.2 18.2.2: VM ² > STATUS > VST
18.2.2: VM ² > STATUS > VST
Gain Display
Internal gain of the
connected AKG micro-
phone.
The display of internal Gain of the AKG microphone
differs according to the type of microphone system being
monitored. It cannot be controlled from the console. For
WMS4500 systems the indicator displays the user-ad-
justable audio gain. For DMS700 systems the indicator
shows the output trim level of the receiver.
Locate
Activate the Locate
function on the selected
AKG receiver.
Pressing this will cause the front panel display of the
chosen receiver to ash, allowing it to be more easily
identied among a rack of others.
RF Strength
Radio Frequency signal
strength.
Shows signal level in bargraph and dB readout.
Battery Level
Remaining battery life
as icon and numerical.
The remaining battery life numerical info in hours is only
a guide, and depends on the type of cells used. The bat-
tery icon gives an accurate picture of the current state.
… 199 …

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