Vi3000 User Guide Original

User Guide v1.

Vi3000 USER MANUAL IMPORTANT INFORMATION
IMPORTANT
Please read this manual carefully before using your mixer for the
first 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 modification 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
IMPORTANT INFORMATION

Vi3000 USER MANUAL: CONTENTS
1.0 INTRODUCTION 12.0: METERING

1.1: Saftey Notices & Warnings 12.1: Inputs
1.2: Product Warranty 12.2: Busses
13.0: EDIT SYSTEM
2.0: SPECIFICATIONS (COPY, PASTE, AND LIBRARY)
2.1: Console block diagram 13.1: Copy, Paste, Undo
13.2: Library Basics
3.0: QUICK START GUIDE 13.3: Library File Screen
4.0: HARDWARE OVERVIEW 14.0: SNAPSHOTS, CUELISTS, GLOBAL FILTER

4.1: Local I/O 14.1: Console Controls
4.2: MADI / DANTE Sources / Switching 14.2: Cuelist Control
14.3: Cue Details
5.0 OPERATIONS OVERVIEW 14.3.1: Cue Number & Timecode
5.1: Manual Conventions 14.3.2: Snapshot/Cue Name
5.2: Vistonics II 14.3.3: MIDI
5.3: Console Bays 14.3.4: GPIO
5.4: FaderGlow 14.4: Snapshot Filters
5.5: Buttons 14.4.1: Snapshot Filter Scope
5.6: Encoders 14.4.2: Global Filter
5.7: Gangs
5.8: Labelling 15.0: TALKBACK & OSCILLATOR
15.1: Console Controls
6.0: INPUTS 15.2: Oscillator Setup & Use
6.1: Navigation - Fader Pages 15.3: Talkback Setup
6.2: The Channel Strip 15.4: Talkback Return Setup
6.3: Encoder Mode
6.4: VST Control 16.0: MAIN MENU
6.5: Touchscreen / Signal Path 16.1: Main (Screen, Security)
6.5.1: Input Section 16.2: Shows
6.5.2: EQ 16.2.1: Show File Data
6.5.3: Dynamics 16.3: GPIO
6.5.4: Busses 16.4: Sync
6.5.5: Output Section 16.5: Tielines
16.6: FX
7.0: OUTPUTS 16.7: MIDI
7.1: LCR Mix Masters 16.8: Log
7.2: Bus Configuration 16.9: Settings
7.3: Bus Master Control 16.10: System
7.3.1: Master Vistonics Control
7.3.2: Channel Strip 17.0: LEXICON FX
7.3.3: Processing Chain 17.1: Using The FX Processors
7.3.4: Graphic EQs 17.1.1: Tap Tempo Functionality
17.2: FX Algorithms & Parameters
8.0: MATRIX SYSTEM 17.2.1: Reverbs
17.2.1: Delays
9.0: MUTE & VCA GROUPS 17.2.1: Misc
9.1: Mute Groups
9.2: VCA Groups 18.0: VM WIreless Status Monitoring / HiQnet
9.3: Aux VCA Groups 18.1: HiQnet Network Configuration
18.1.1: VM Device List
10.0: MONITORING 18.2: Status Displays
10.1: Console Controls 18.2.1: Channel Strip Status
10.2: Setup 18.2.2: VST Status
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
CONTENTS

Vi3000 USER MANUAL 1.0: Introduction
Welcome To The Vi3000!
New Look
The Soundcraft Vi3000 features an all-new appearance DANTE As Standard
with a more efficiently designed control surface, 36 The Vi3000 is the first Soundcraft console to incorporate
faders, 24 mono/stereo busses and a sweeping black a Dante interface as standard, for seamless digital audio
screen panel with four Vistonics II touchscreen interfac- networking with Dante-enabled devices.
es with sleek, updated 3D graphics. Because the Vi3000
has four touchscreens, its the only console in its class Connectivity
that can be used by two engineers at the same time. And In addition to a full complement of analog and digital in-
at show time... Settings libraries, copy/paste functions, puts and outputs, the console provides MIDI, USB, Ether-
sophisticated automation and radio mic status monitoring, net, DVI out, Dante/MADI record feed outputs, redundant
FaderGlow, processing from dbx, BSS, Lexicon and power supply and other connections. The Vi3000 has two
Universal Audio (Optional Realtime Rack), and more will expansion bays that can be fitted with MADI Stagebox
not let you down. cards, to connect multiple Soundcraft Stagebox input
expander modules.
SpiderCore DSP
The Vi3000 is a console with friends in high places. Shine A Light
Sound quality is assured by Soundcraft SpiderCore - a Along with its greatly expanded functionality, the Vi3000
brand new 40-bit floating point DSP engine that mixes retains all the features that have made the Soundcraft Vi
FPGA and DSP technology in a unique combination Series the consoles of choice for live sound engineers
that maximises I/O routing and DSP mixing capability worldwide, such as FaderGlow - illuminated faders that
in a footprint small enough for inclusion within a control display different colors according to function, the ability
surface. to store and recall snapshots and cues, compatibility with
Soundcrafts ViSi app that allows remote control from an
FX iPad.
Internal FX come courtesy of 4 independent stereo
Lexicon multi effects units, each providing a choice of 14 Optional 64 channel stagebox
reverbs, 7 delays and 8 pitch shifting effects, patchable With up to 48 on-board mic inputs, Vi3000 is happy to
to input channels, aux outputs and channel inserts. BSS work with existing analogue multicore systems. Also
third-octave Graphic EQ is available on every bus output, available is an optional remote stagebox housing 64
with fader bays illuminating in red to indicate GEQ mode. analogue mic/line inputs and 32 analogue line outputs,
with 48V phantom power and a 80Hz HPF before the A-D
...And More FX converters. Mic amp gain can be controlled remotely from
The Vi3000 can also accommodate the new Soundcraft the console surface.
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.
1.0 1.0 Introduction

Vi3000 USER MANUAL 4.3:1.1:
INPUTINTRODUCTION
CHANNEL > DYNAMICS
> SAFETY
SAFTEY NOTICES
For your own safety and to avoid invalidation of the warranty

please read this section carefully.
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
qualified service engineer, through the appropriate Soundcraft dealer.
4.3
1.1 1.1:INPUT
INTRODUCTION
CHANNEL >>De
SAFETY
Esser

Vi3000 USER MANUAL 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 amplifiers) that produce heat.
Do not block any ventilation openings. Install in accordance with the manufacturers 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
fit 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 specified by the manufacturer.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified 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 specified 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 flame sources, such as lighted candles or cigarettes etc., should be placed on the
apparatus.
Warning: To reduce the risk of fire 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 filled with liquids, such
as vases, on the apparatus.
No user serviceable parts. Refer all servicing to a qualified 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.
1.1 1.1: INTRODUCTION > SAFETY

Vi3000 USER MANUAL 1.2:
4.3: INTRODUCTION
INPUT CHANNEL>>WARRANTY
DYNAMICS
WARRANTY
1 Soundcraft is a trading division of Harman International Industries Ltd.
End User means the person who first 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 Soundcrafts manual.
b) The End User has notified Soundcraft or the Dealer within 14 days of the defect appearing; and
c) No persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement
of parts maintenance adjustments or repairs to the Equipment; and
d) The End User has used the Equipment only for such purposes as Soundcraft recommends, with only such
operating supplies as meet Soundcrafts specifications and otherwise in all respects in accordance Soundcrafts
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 influences, accidental damage, Acts of God, neglect, deficiency in electrical
power, airconditioning or humidity control.
6. The benefit 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.
4.3
1.2 1.2: INTRODUCTION
INPUT CHANNEL
> WARRANTY
> De Esser

Vi3000 USER MANUAL 2.0: Vi 3000 Specifications
Vi3000 Specifications
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 (150 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 32108kHz (with SRC enabled)
DSP Resolution 40-bit floating point
Internal Clock
Accuracy < +/- 50ppm
Jitter < +/- 2ns
2.0 2.0: Vi 3000 Specifications

Vi3000 USER MANUAL 4.3: INPUT2.0:
CHANNEL
> DYNAMICS
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 2k7
All other analogue Inputs >10k
Line Outputs <75
AES/EBU Outputs 110
Oscillator 20Hz to 20kHz/Pink/White Noise, variable level
Channel Filters
Mic In HP Filter 80Hz fixed, 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
4.3
2.0 INPUT
2.0:CHANNEL
> De Esser

Vi3000 USER MANUAL 2.0: Vi3000 Specifications
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 0C 45C (32F 113F)
Relative Humidity 0% 90%, non-condensing Ta=40C (104F)
Storage Temperature Range -20C 60C (-4F 140F)
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
2.0 2.0: Vi3000 Specifications

4.3
2.1
INPUTS PATCH INPUT CHANNELS / MATRIX MASTER / MIX / MONITORING PATCH OUTPUTS
MASTER MIX/MTX SOLO

MASTER C
MASTER L
MASTER R
MIX or MTX 2
MIX or MTX 24
MIX or MTX 1
SOLO L
SOLO R
MIC/LINE LOCAL I/O LINE OUT LOCAL I/O
MASTER LEFT
a PROCESSING GRM a
PAD
A D
D A
16 I DYNAMIC I I LEVEL MASTER L 16
EQUALIZER LOW-
N Limiter N FADER ON N DELAY
4 band CUT
INP 1 MASTER L S Compressor S S
Up to 3 cards with 16 Up to 3 cards with 16

Channels per card LOW Channels per card

INP 2 S I DYNAMIC I I MASTER R to MTX
PHASE & EQUALIZER ST
E N GATE/Dees Limiter DELAY N FADER ON N PAN LINK
TRIM HI 4 band param SOLO PF PF
OSC L S Compressor S S TRIM
CUT AF INS SEND
MASTER C AON AON
DYN LINK (ST) PF AF Follow/

AES USB TB HP INS RET AES USB TB HP
Bundle MASTER RIGHT
to CH Dyn GRM
d D of same AF D d
SFC MIX 1
D Bay A/B PF D
I DYNAMIC I I LEVEL MASTER R
d D PP EQUALIZER LOW- D d
SFC 8 KEY PE PE N Limiter N FADER ON N DELAY 8
D 4 band CUT D
S Compressor S S
USB D D USB
D GUI MIX 24 D
a D to MTX a
GATE Dees D p
D SOLO PF PF A
TRIM
AF AF INS SEND
AON AON
LEVEL PF
PP
DIR OUT
GRM
MASTER CENTRE
PP GRM
AFL
SOLO L
I DYNAMIC I I LEVEL MASTER C
To MTX EQUALIZER LOW-
SOLO R N Limiter N FADER ON N DELAY
Dante or MADI (IN) 4 band CUT Dante and MADI (OUT)
S Compressor S S
d 64 64 SC/ES PFL 64 64 d
D D
D SOLO P SOLO to MTX D
MONO INPUT SOLO PF PF
TRIM TRIM
AF INS SEND
INS SEND AON AON
CHANNEL 1 to 96
DIR OUT 96
MASTER L
MIX BUS 1
D21m compatible expansion MASTER R INS SEND 24 D21m compatible expansion
slot MASTER C slot
x 64 64 BUS FEED 1 64 64 x
X X D X
D X
MIX or MTX 1
GRM
MASTER L I DYNAMIC I I
MIX BUS 24 EQUALIZER LOW- LEVEL MIX BUS 1
MASTER R N Limiter N FADER ON N DELAY
MASTER C 4 band CUT
S Compressor S S
BUS FEED 24
ST to MTX
SOLO LINK PF PF
D21m compatible expansion TRIM D21m compatible expansion
slot AF INS SEND slot
AON AON
MTX 1
64 ON 64 64
x 64 X SEL D x
X MTX 1_SRC 24 X
D MTX X
1 MTX 24
# ON
MIX or MTX 24
MTX 1 GRM
ON
SEL
MTX 16_SRC 24 I DYNAMIC I I LEVEL MIX BUS 24
MTX EQUALIZER LOW-
N Limiter N FADER ON N DELAY
4 band CUT
24 MTX 24 S Compressor S S
ON

MATRIX to MTX
SOLO PF PF TRIM
AF INS SEND
AON AON
Vi3000 USER MANUAL
OSC OSC
TB to BUS / MTX / EXT

TB_SRC
TB SEND OSC to TB
SEL TB
TB TB EXT
TB_MIC TB to EXT
Source pre BLEND

A or B
SOLO pre TRIM
ENAB A/B
SOLO TRIM
BLEND IN BUS 1 BUS 24 MON Delay MON FADER
[-inf..- 10 dB] [+/- 10 dB] 0..2000 mS ON
GUI OUT Meter
MNTR B
IN/OUT Logic
INPUT
SOLO
MONITOR_A Enable
Left TB MON_A LEFT 1..8 9..16 17..24
+ + Delay +
LR/ DIM
RR/ GUI IN Meter
FX 3 MON_A_Source SEL Right LL TB MON_A RIGHT
MON_A_Source 3 + + Delay + ON
A DIM
LEX 1 MON_B_Source 3 MON_A CENTER 1..8 9..16 17..24
Center
Delay
LEX 2 MON_HP_Source 3
LEX 3 25..32 33..40 41..48

TB RET
4.3: INPUT2.1:
IN/OUT
LEX 4 TB from ext
MONITOR_B SOLO
Enable 49..57 58..64 65..72
Left TB MON_B LEFT
2.1: CHANNEL
+ + Delay +
3 SEL LR/ DIM
MON_B_Source Center
RR/ ON 73..80 81..88 89..96
CLOCK B Right LL TB MON_B RIGHT
+ + Delay +
Dante DIM
Vi3000 Block
WCLK
OSCILLATOR
SINUS
OSC IN/OUT
MONITOR_HP -15
PINK NOISE SOLO
> De
CHANNEL
48k Enable
sidetone
WHITE NOISE PHONES LEFT
Left TB
+ + + Delay +
3 SEL LR/ DIM
MON_HP_Source Center
RR/ 1.0 19.05.14MUS
HP Right LL TB PHONES RIGHT
+ + + Delay +
DIM
MIDI TB from ext
Vi3000 Block
IN
Esser
24 TIE LINE TIE LINE 24
Diagram
Regensdorf
Vi 3000
OUT
Switzerland
Audio Block Diagram
(Based on Vi 6 Audio Block Diagram V0.748)
Diagram
> DYNAMICS

Vi3000 USER MANUAL 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
3.0 - 1 3.0 QUICK START

Vi3000 USER MANUAL 4.3: INPUT CHANNEL
3.0 QUICK
> DYNAMICS
START
Buttons And Encoders
Ganging
4.3
3.0 - 2 INPUT CHANNEL
3.0 QUICK
> DeSTART
Esser

Inputs & Controls
Input Channel Access

3.0 QUICK
> DYNAMICS
START
Fader Pages
Output Assignment
4.3
3.0 QUICK
> DeSTART
Esser

Outputs & Control

3.0 QUICK
> DYNAMICS
START
Monitoring
4.3
3.0 QUICK
> DeSTART
Esser

Copy, Paste, Move, LIbrary

3.0 QUICK
> DYNAMICS
START
Snapshot & Cuelist
4.3
3.0 QUICK
> DeSTART
Esser

Main Menu System
Lexicon FX

Vi3000 USER MANUAL 4.1: Hardware > Local I/O
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
configurations, inlcuding digital (AES) and analogue input and output cards. However, the monitor / masters output
section cannot be changed - this contains the fixed-routing Monitor A and Monitor B outputs, plus the master LCR
analogue outputs.
There are also user-configurable 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.
Main I/O Slots

The monitor / masters output section cannot be changed
(bottom left of the main picture) as this contains the
fixed-routing Monitor A and Monitor B outputs, plus the
master LCR analogue outputs.
Configuration options for the other slots are: 32 mic in/32
The main local I/O slots.
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).
4.1 4.1: Hardware > Local I/O

CHANNEL
Hardware
> DYNAMICS
> Local I/O
PSU / Power
Sockets
Either socket can be used for a single supply. if both are
There are two mains
used then one is a backup. The two sockets are labelled
inputs for seamless re-
PSU1 and PSU2, corresponding to indicator lights on the
dundancy for those that
Menu-System-Local page. The colour of this indicator,
require it. The IEC inlets
and the power button on front panel of the console, indi-
can accept AC inputs
cates the state of these PSUs: RED if only one of them
from 100V to 240V.
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
Power off Power on
need to be on for the
dual redundancy switch-
ing to be effective.
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
For details on HiQnet setup, please refer to reference
connector for HiQnet
chapter 18.
network connection.
4.3
4.1 INPUT
4.1:CHANNEL
Hardware >> De
Local
Esser
I/O

Vi3000 USER MANUAL 4.1: Hardware > Local I/O
AES I/O
4 channels of AES/EBU format outputs and 4 channels

2 x 3-pin XLR AES (two- of inputs.
chanel) digital audio AES 1-2 and 3-4 Input sockets have associated green
input and output. confidence LEDs that indicate a valid sync signal is
present.
DANTE
Please note, the Vi 3000 MADI local MADI and DANTE
ports share an input and so are exclusive. That is, you
Input and output
can choose either a local MADI or DANTE input. The
Interface ports for a
outputs are 'parallel' and a work concurrently. The choice
a DANTE (Audinate)
between the MADI and DANTE inputs is determined by
digital audio network.
the DANTE/MADI global switch in the Setting tab of the
main menu - accessed with the [MENU] button.
MADI I/O
Please note, the Vi 3000 MADI local MADI and DANTE
ports share an input and so are exclusive. That is, you
Input and output Inter- can choose either a local MADI or DANTE input. The
face ports for connec- outputs are 'parallel' and a work concurrently. The choice
tion to/from MADI-com- between the MADI and DANTE inputs is determined by
patible equipment. 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
phantom
talkback mix input on No Power
powered
the top panel of the
console.
D21m Slots
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
D21m Slots, labelled (16ch single slot), Blu Link (32ch single slot), Aviom (16
slots I, J, K, and L. 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).
4.1 4.1: Hardware > Local I/O

Vi3000 USER MANUAL 4.2: 4.3:
Hardware
INPUT>CHANNEL
DANTE / MADI
> DYNAMICS
Sources
DANTE / MADI Interface and switching notes
The Dante/MADI interface gives the Vi3000 a lot of flexibility 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
consoles 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 consoles MADI stream. Alternatively
the consoles Wordclock Out can be used to drive the recording software or router, or the console can be slaved to the
other equipments 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 configured. Although the patching of signals to/from channels or busses in the console is done via
the consoles 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 its possible to make connections on an individual channel basis between
the Vi3000s 64ch Dante interface and all other Dante equipment on the network.
4.3
4.2 4.2: Hardware
INPUT
> DANTE
CHANNEL
/ MADI> Switching
De Esser

Vi3000 USER MANUAL 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 consoles software. (Note: The Vi3000s Dante interface is set as factory default to act as Primary Master).
The status of the Vi3000s clock config 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 Select DANTE external clock in Menu-Sync page of console. Check Slave to
network. 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.
4.2 4.2: Hardware > DANTE / MADI Sources

Vi3000 USER MANUAL 5.0 Operations Overview
5.0: Operations Overview
5.0 5.0 Operations Overview

Vi3000 USER MANUAL 5.14.3:
Operations
INPUT CHANNEL
Overview >>Conventions
DYNAMICS
5.1: Conventions And Colours
This manual, and the console uses certain conventions to make things significantly 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 VCA/MG Indication
Input Functions Blue VCA 1..8 Blue

Equaliser Red VCA 9..16 Pink
Filter Blue Aux VCA Master 1..16 White
Gate,Comp,Lim,De- Green Mute Group Red
ess
Pan, Dir Out, Insert Yellow
Oscillator Gold
Monitoring Lilac Patching & Misc
Input Patch Blue

Busses Output Patch Red
Aux Orange
Audio Group Green
Matrix Cyan
4.3
5.1 5.1 Operations
INPUT Overview
CHANNEL > Conventions
> De Esser

Vi3000 USER MANUAL 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 significant user-in-
terface benefits.
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 channels contribution level to
the Aux 1 bus, and the upper row of buttons to turn those contributions on and off.
5.2 5.2 Operations Overview > Vistonics II

Vi3000 USER MANUAL 5.2
4.3:
Operations
INPUT CHANNEL
Overview>>DYNAMICS
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 configuration page in the Touch area it shows a '+' sign on
the button. If the configuration page is already open, the button will be labelled with a
'-' sign. Pressing the button in that state will exit the configuration page.
Inactive Fields
If an audio function block is disabled, with the background of the field changed to
grey, the button indication will change to a darker colour.
4.3
5.2 5.2 Operations
INPUT Overview
CHANNEL> >Vistonics
De EsserII

Vi3000 USER MANUAL 5.3 Operations Overview > Console Bays
5.3: Console Bays
The Console is divided into four main bays. Counting from the left, the first, 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 areas default mapping is the first 16 bus masters. The next eight masters can be accessed with
the [PAGE 2] button in the Master Bay VISTONICS button group.
5.3 5.3 Operations Overview > Console Bays

Vi3000 USER MANUAL 5.3 Operations
4.3: INPUTOverview
CHANNEL > Console
> DYNAMICS
Bays
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.
4.3
5.3 5.3 Operations
INPUT
Overview
CHANNEL> Console
> De Esser
Bays

Vi3000 USER MANUAL 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 significantly 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 fitted 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
5.4 5.4 Operations Overview > FaderGlow

5.5INPUT
Operations
CHANNEL
Overview
> DYNAMICS
> 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 consoles powerful library system.
For more information see the Edit System reference chapter 13.
4.3
5.5 5.5 Operations
INPUT CHANNEL
Overview
>>DeButtons
Esser

Vi3000 USER MANUAL 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.
5.5 5.5 Operations Overview > Buttons

5.5INPUT
Operations
CHANNEL
Overview
> DYNAMICS
> Buttons
Input Fader Pages
These buttons control navigation through five basic input channel Pages/Layers, including the All
Busses view, plus five user-definable 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 consoles 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.
4.3
5.5 5.5 Operations
INPUT CHANNEL
Overview
>>DeButtons
Esser

Vi3000 USER MANUAL 5.5 Operations Overview > Buttons
[SETUP] But-
tons Field / Group: Active
[SETUP] buttons open

While a setup screen is active, pressing the [SETUP]
the relevant setup Show Setup
button again will close that setup screen. For more infor-
screen in the Master screen
mation see the chapter relevant to each [SETUP] button.
Bay Vistonics screen.
[SOLO/SEL]
Buttons Field / Group: Inactive Active
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
Solo or select a chan- Soloed/Se-
channel (within its own bay of eight channels) moves the Normal
nel. lected
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.
[GANG] Buttons Field / Group: Inactive Active
For linking channels, processing blocks, and parameters,

Special Ganging func-
for convenient control. See the Gang section in this oper- Normal Gang Mode
tionality.
ations overview chapter for more information.
[SOLO CLEAR]
Button Field / Group: Active
Clear any currently

Clear
active console Solos.
5.5 5.5 Operations Overview > Buttons

5.5INPUT
Operations
CHANNEL
Overview
> DYNAMICS
> Buttons
Lower [FLW]
Button Field / Group: Inactive Active
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
Input faders follow mas-
activated, the EQ/Dyn/Misc touch screen for the Matrix Follow Mode Normal
ter bus selection.
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.
Main Menu
Button Field / Group: Inactive Active
Settings and preferences for a variety console functions

Brings up the Main
are arranged in tabbed pages in the main menu. For Main Menu
Menu screen in the Normal
more information, see the Main Menu reference chapter Active
Master Bay.
16.
Input Priority Field / Group: Inactive Active
Allow an Output Solo to

remain active, whilst an
For more information see the SOLO System reference Main Menu
Input Solo is temporarily Normal
chapter 8. Active
activated over the top
of it.
Lock Meters Field / Group: Inactive Active
Locks the Meter section The meter section will be safe from output selections
Meters
of the Master Bay touch bringing the channel up on the touchscreen, for example. Normal
Locked
screen onto the screen. [SETUP] buttons still takeover the screen though.
4.3
5.5 5.5 Operations
INPUT CHANNEL
Overview
>>DeButtons
Esser

Vi3000 USER MANUAL 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 fields 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 field 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.
5.6 5.6 Operations Overview > Encoders

Vi3000 USER MANUAL 4.3:5.7
INPUT
Operations
CHANNELOverview
> DYNAMICS
> Gangs
5.7: Gangs
Gang is a very helpful feature to speed up operations that influence 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
After activating Gang Mode, hold the [GANG] button

down to Gang all channels.
Activate or deactivate
Normal Gang Select
Gang Mode. You can leave Gang Mode pressing the [Gang] button.
If you havent cleared down the gang then it will be
restored the next time you re-enter Gang Mode.
Select (Gang) Field / Group: Active
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 first
and last channels' [SOLO/SEL] buttons together.
Select and deselect Select
Press & Hold any [SOLO/SEL] button to clear down the
ganged channels. Channel
entire gang (recommended after use to avoid accidental
operation of Gang mode).
When in a gang, a channels [SOLO/SEL] button will

glow blue.
4.3
5.7 5.7 Operations
INPUT CHANNEL
Overview
> De
> Gangs
Esser

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, file,
or other named parameter or item is required. For example, you can label an input channel by touching the channels
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.
5.8 5.8 Operations Overview > Labelling

Vi3000USER
Vi3000
USERMANUAL
MANUAL 6.0: INPUTS
6: Input Channels
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-
definable 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.
6.0 6.0: INPUTS

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 five user-definable 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 fields in the Master Bay Vistonics to remap those input channels to the right-
most input bay.
6.1 6.1: INPUT CHANNEL > FADER PAGES

Vi3000 USER MANUAL 6.1: INPUT CHANNEL > FADER PAGES
Fixed Fader Field / Group: INPUT

Layers FADER PAGES Active
Each button maps Pages of 24 channels to the three in-

Select four pages/layers
put bays, so [A] is channels 1-24; [B] is channels 25-48; Select
of input channel strips.
[C] is channels 49-64; and [D] is channels 65-96.
User Fader Field / Group: INPUT

Layers FADER PAGES Active
User-Defined input Select one of these buttons to map that user-defined

channel strip pages/ fader-layer to the console. The User layers are defined Select
layers by pressing the FADER PAGES [SETUP] button.
All Busses Field / Group: INPUT

Mode FADER PAGES Active
Map the 24 output

See Outputs Reference section 7 for more detail on All
busses to the input bay Select
Busses mode.
fader strips.
6.1 I6.1: INPUT CHANNEL > FADER PAGES

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 The Default function is control over the channels ana-
function is defined by logue input gain. Dependant Dependant on
the input ENCODER For more information see the Inputs Encoder Mode refer- on Mode Mode
MODE buttons. ence section 6.3
Input Channel
Strip F Field / Group:
Reserved for future

software updates
6.2 6.2: INPUT CHANNEL > CHANNEL STRIP

Input Isolate Field / Group: Active
Used to isolate the

channel (and selec-
tions) from snapshot See the Snapshot and Global Filtering reference section
Isolate
recall and (when Global 14 for more information.
Filtering is active) from
Show file loads.
Level and GR
Meter Field / Group:
Level and gain reduc-

See the metering reference section 12 for more informa-
tion metering for the
tion.
input channel.
Input Channel
Label Field / Group:
The long and short channel labels are set in the chan-
Displays the short label/
nel's 'Input' Vistonics parameter block. See reference
name of this channel.
section 6.5.1 for more information.
'Pre' Indicator Field / Group:
Reserved For Future

Use.
Channel ON/
OFF Field / Group: Inactive Active
The button glows green when the channel is 'On'. If

Channel [ON]/OFF but-
the channel is off there is no glow colour. However, if
ton. 'OFF' is effectively Channel Off Channel On
the channel is muted because a mute group has been
a mute control.
activated, the [ON] button will glow red.
Mute Safe Indi-

cator Field / Group:
Glows red when Mute When the Mute Safe system is enabled (in Monitoring
Safe is active for this section [SETUP]), then the channel strip SOLO/SEL
channel. button activates the Mute Safe status for the channel.

Mute/VCA
Group Indica-
tors Field / Group:
The actual target of these LEDs (Mutes, VCAs 1-8, or

Shows the Mute or VCA
VCAs 9-16) is determined by the DISPLAY buttons in the
Groups that is channel
MUTE & VCA GROUPS button group. See the Mute &
belongs to.
VCA Groups reference section 9 for more information.
Channel Fader Field / Group:
The input channel faders can also be assigned to follow

Control the channel the bus master selection in the Master Bay with the fader
output level. [FLW] button and become level controls for contributions
to that bus.
FaderGlow Field / Group:
Input channel levels are not colour-coded. The other

The channel fader is
FaderGlow colours are Aux Sends: ORANGE; Groups:
colour-coded depending
GREEN; Matrix Contribution: CYAN; VCA Master 1-8:
on its function.
BLUE; VCA Master 9-16: PINK.
Solo / Select Field / Group: Active
If a touch-panel screen is open for the for another chan-

nel in the same bay, the [SOLO/SEL] button moves the
Default is the channel touch screen to this channel. The button has other func-
Solo function (listen to tions in other console modes such as selecting channel Solo Enable
this channel only on the for a Copy or Paste edit function. Other functions for the or Select
monitor bus). [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.

Vi3000 USER MANUAL 6.3: INPUT CHANNEL > ENCODER MODE
Input Encoder 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).
Mode: Input
Gain Field / Group: Active
(Default) Switch the in-

put Encoders to control Select Mode
analogue input gain.
Mode: Gate
Threshold Field / Group: Active
Switch the input En-

coders to control Gate Select Mode
Threshold.
Mode: Pan Field / Group: Active
Switch the input Encod-

Select Mode
ers to control Pan.
6.3 6.3: INPUT CHANNEL > ENCODER MODE

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- Select Mode
sor Threshold.
Mode: User 2 Field / Group: Active
Switch the input En-

coders to control Digital Select Mode
Trim.
6.3 6.3: INPUT CHANNEL > ENCODER MODE

Vi3000 USER MANUAL 6.4: INPUT CHANNEL > VST CONTROL
Input VISTONICS Buttons (VST Section Control)
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.
Pre/Post Field / Group: Active
Configure 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
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
Activate aux paning
assigned to Row 1 & 2 are Stereo Auxes, both Rows 1 Activate
for encoders where
and 2 will change to the PAN function across the desk. If Mode
applicable.
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.
Fast Assign Field / Group: Active
Press and hold one of the [FAST ASSN] keys, then press
Provides a very fast way one of the Output Masters [SOLO/SEL] keys.The rele-
to temporarily assign a vant row of VST encoders will now be assigned to that Activate
bus function to a VST Output master, and the [FAST ASSN] key in question Mode
encoder row. will illuminate. There will be no influence on audio, the
Output solo is not activated.
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 Pressing a bus master [SOLO/SEL] button will automati-
SOLO function for the cally assign the soloed bus master to this row, overriding Activate
respective VST encoder the default or the [USER] layer. Note that only one [FLW] Mode
rows. can be active at a time.
VST Mode:
USER Field / Group: Inactive Active
Assign the two VST

Encoder rows as AUX
Activate
3 and AUX 4 send level
Mode
controls for their input
channels.
Input VST
setup Field / Group: Inactive Active
Activate
Reserved for future use.
Mode
6.4 6.4: INPUT CHANNEL > VST CONTROL

Vi3000 USER MANUAL 6.5.1: INPUT CHANNEL > INPUT
Input Touch Screen Audio Blocks - INPUT
A mono input channels 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 channels 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

Channel Input
Select Field / Group: INPUT Range Low Range High
Select either Input 1 or

The two physical channel inputs are assigned in the IN1
Input 2 as the channel IN 1 IN 2
PATCH and IN2 PATCH fields.
input.
Oscillator Input
Select Field / Group: INPUT Inactive Active
Assign the console's When OSC is active, the normal input selections are
central oscillator to the disabled and the corresponding input touch field is high- off on
input of this channel. lighted in orange.
Input Gain Field / Group: GAIN Range Low Range High
Adjust the analogue This is an analogue gain stage, before analogue-to-digi-

+10dB +65dB
input gain. tal conversion.
Input Pad Field / Group: GAIN Inactive Active
Reduce the input sensi- When the Pad is active, the PAD text in the input touch
0dB -20dB
tivity by 20dB. field is highlighted in blue.
Input Trim Field / Group: TRIM Range Low Range High
Adjust the digital input This is the post analogue-to-digital conversion gain, in
-36dB +15dB
gain. the digital domain.
Analogue Lo
Cut filter Field / Group: TRIM Inactive Active
Insert the analogue (pre

When the analogue LO Cut filter is engaged, the LO Cut
AD converter) low cut
symbol in the input touch field is highlighted in blue. This Out In
filter (only analogue
filter affects analogue inputs only.
inputs).

LO CUT Cut-Off
Frequency Field / Group: LO CUT Range Low Range High
This is part of the digital (post AD) LO CUT / HIGH CUT

Adjusts the LO CUT cut- section and affects all inputs. The affected frequency
20Hz 600Hz
off frequency range is shown graphically in the EQ section of the touch
screen.
LO CUT IN Field / Group: LO CUT Range Low Range High
When the digital LO CUT filter is switched in, the LO

Switch the digital LO
CUT indicator above the response graph in the EQ touch Out In
CUT filter in and out
section is highlighted in blue.
HI CUT Cut-Off
Frequency Field / Group: HI CUT Range Low Range High
This is part of the digital (post AD) LO CUT / HIGH CUT

Adjusts the HI CUT filter section and affects all inputs. The affected frequency
1kHz 20kHz
cut-off frequency. range is shown graphically in the EQ section of the touch
screen.
HI CUT IN/OUT Field / Group: HI CUT Range Low Range High
When the digital HI CUT filter is switched in, the HI CUT

Switch the digital HI
indicator above the response graph in the EQ section of OUT IN
CUT filter in and out
the touch screen is highlighted in blue.
Channel Pairing Field / Group: PAIR-

Selection ING Inactive Active
The touch screen will show pairing candidate options for

the channel - these will be consecutive channel numbers
Activate channel pairing (horizontal neighbours) and the corresponding chan-
Channel
selection on touch nels on higher and lower layers (vertical neighbours). No Selection
Selection
screen. All channel parameters will be copied to the selected
pairing candidate and the pairing FORMAT field will be
displayed.
Pairing Format Field / Group: FOR-

Selection MAT Range Low Range High
Adjusts stereo format of The choices are LR, RL, LL, RR, MONO. If the channel
LR MONO
paired channels. is not paired, the FORMAT field will not be displayed.

Field / Group:
Phantom Power PHANTOM Inactive Active
Apply Phantom Power When phantom power is applied to this channel's input,
(+ 48V) to XLR patched the '48V' indicated (touch screen input section) is high- Off 48V
to this input. lighted in red.
Phase Invert Field / Group: PHASE Inactive Active
Invert the phase of

When phase invert is active, the phase symbol in the
audio through this Off 180 degrees
input section of the touch screen is highlighted blue.
channel.
Field / Group: IN1

Input Patch PATCH / IN 2 PATCH Inactive Active
The input patch selection screen will give you access

to all available inputs / sources, both external (local
Activate input patch- I/O, Stage Box, MADI, and so on) and internal (Lexicon
Selection
ing selection on touch effects). If an input channel is paired, you will also have Inactive
active
screen. to option to select L or R assignment from the same
screen. The IN 1 and IN 2 field text areas will show the
selected source.
Field / Group:
Channel Label CH LABEL Inactive Active
Thsi control brings up the standard ASCII keyboard

Activate channel display and colour selector in order to label the channel.
labeling functionality on You can specify short and long channel names, and a la- Inactive Active
main touch screen. bel colour. You can also use a connected USB keyboard
if available.
Delay Fine
Adjust Field / Group: DLY FIN Range Low Range High
Adjusts overall delay time in small steps. The delay

Fine adjustment of the units (feet, meters, seconds etc) of adjustment can be
0 Seconds
channel delay time. changed in the main Settings screen, via the [MENU]
button.
Delay Adjust Field / Group: DLY Range Low Range HIgh
Adjusts overall delaytime. The delay units (feet, meters,

Adjustment of the chan-
seconds etc) can be changed in the main Settings 0 Seconds MONO
nel delay time.
screen, via the [MENU] button.
Delay In / Out Field / Group: DLY Range Low Range High
Activates the delay for When the channel delay is active, the 'DLY' indicator in
Out In
this channel. the touch screen input area is highlighted blue.

Vi3000 USER MANUAL 6.5.2: INPUT CHANNEL > EQ
Input Touch Screen Audio Blocks - EQ
A mono input channels 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 > EQ

Frequency Con-
trol Field / Group: FREQ Range Low Range High
Adjust the centre All changes are reflected in the graphic Vistonics touch
frequency (band pass) screen EQ section. Any band currently being adjusted
20Hz 20kHz
or cut-off frequency is shown highlighted in white. All four bands feature full-
(shelving) of the EQ. range frequncy control.
EQ Bandwidth /
Q Control Field / Group: BwOct Range Low Range High
Adjust the bandwidth You can chose whether the adjustment unit is Bandwidth
or Q (inverse) of the or Q via the main settings screen by hitting the [menu] 0.3Q/0.2oct 8.7Q/4oct
current filter. button.
Field / Group:
Shelf Select BwOct/Q Inactive Active
Choose a shelving The shelf response is available to the high (HF) and low
Bell Shelf
response for the filter. (LF) EQ bands.
Gain Control Field / Group: GAIN Range Low Range High
Adjust the gain applied

to the defined filter -18dB +18dB
band.
EQ Band In Field / Group: GAIN Inactive Active
Switch the selected EQ

Please note, there is also an EQUALISER IN button to
band into the Equaliser Out In
switch the equaliser section into the channel signal path.
signal path.
Flatten All Field / Group: Active
Flatten settings for the

Flatten
whole equaliser section.
Field / Group: EQUAL-

EQ In ISER Inactive Active
Switch the whole equal- Respects in/out settings on individual bands. When the
iser section into and out Equaliser section is 'In' the EQ graphic on the Vistonics
Out In
of the channel signal input channel touch screen area will be highlighted in
path. red.

Vi3000 USER MANUAL 6.5.3: INPUT CHANNEL > DYNAMICS
Input Touch Screen Audio Blocks - Dynamics
The dynamics section has three main components - The first 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
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 filters, a key signal solo func-
tion, and a ducking mode.
Gate / DeEsser
Selection Field / Group: MODE Range Low Range High
Select either the GATE

or DeEsser function
The top line of dynamics controls adapt to this selection. Gate DeEsser
for the first dynamics
process.
Gate Threshold
Set Field / Group: GATE Range Low Range High
Adjust the gate thresh-

-40dB +18dB
old level.
Gate In Field / Group: GATE Inactive Active
Include the Gate in the When Gate In is selected, the word 'GATE' is highlighted
Out In
dynamics signal path. in the touch screen dynamics section.
Gate Attack
Time Field / Group: ATCK Range Low Range High
Adjust the attack time of

10uS 957mS
the Gate.
Gate Duck
Function Field / Group: ATCK Inactive Active
DUCK mode in inverse gate mode which reduces level

Select the Gate DUCK when the side chain input EXCEEDS the threshold. This
Off On
mode. can be used for 'ducking' a music bed under a DJ vocal,
for instance.
Gate HOLD
function Field / Group: HOLD Range Low Range High
Adjust the Gate Hold This is the time an activated gate will remain fully closed,
2.2 mS 2 seconds
Tim before entering the 'release' phase.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > GATE

Gate Release
Time Field / Group: REL Range Low Range High
Adjust the Gate Release This is the time an activated gate will will take to open,
2.2 mS 3.7 Sec
Time from its 'hold' state.
Gate Range Field / Group: RNG Range Low Range High
This is the difference between the nomral signal level

Adjust the Gate Range. -60dB 0dB
and the gated signal level.
Gate Side
Chain Solo Field / Group: RNG Inactive Active
Switches the Gate Side

For monitoring the signal being used as the gate 'key'
Chain signal to the Solo Off Solo
(The signal used for testing gate threshold).
buss.
Lo Cut
Frequency Field / Group: LO CUT Range Low Range High
Adjust the cut-off

Together with the gate hi-cut filter, this creates a band-
frequency of the gate 20Hz 20kHz
pass filter for side chain control of the gate.
sidechain lo-cut filter.
Sidechain Filter
In Field / Group: LO CUT Inactive Active
Inserts the gate Hi and

Together the gate lo-cut and high-cut side chain filters,
Lo Cut side chain filters
create a band-pass filter for side chain control of the Out In
into the side chain
gate.
singal path.
Gate Hi Cut
Filter Field / Group: Hi CUT Range Low Range High
Adjust the cut-off

Together with the gate lo-cut filter, this creates a band-
frequency of the gate 20Hz 20kHz
pass filter for side chain control of the gate.
sidechain hi-cut filter.
Gate External
Key In Field / Group: HI CUT Inactive Active
Swtiches the sidechain

key signal from the main Assign the key input patch with the key assign button in
Out In
channel signal, to an the MODE field.
external signal.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > GATE

External Key
Assign Field / Group: MODE Inactive Active
Activate the External

Key Assign screen in All external I/O options for the external key become
+ -
the main Vistonics touch available for selection.
sreen panel.
x
DE-ESS Function
The de-esser is a dynamically controlled filter normally used to reduce the sibilance (sss components) in
a singers voice. If the de-esser is active, the signal level will be reduced only in the band set by the filters,
when the signal in this band exceeds the required threshold.
De-Esser Sensi-
tivity Field / Group: SENS Range Low Range High
Adjust the sensitivty of

0% 100%
the De-esser process.
De-Esser In Field / Group: DEES Inactive Active
Activates the De-esser

Out In
process
De-Esser Range Field / Group: RNG Range Low Range High
Adjusts the De-esser The maximum amount by which the signal in the 'Ess'
-18dB 0dB
attenuation. band is attenuated when the DeEsser is activated.
Ess Band Solo Field / Group: RNG Inactive Active
Solo the De-esser Helps pinpoint the 'Ess band' most suited to the current
Off Solo
dynamic filter. signal.
De-Ess Filter
Frequency Field / Group: FREQ Range Low Range High
Adjust the centre

frequency of the De-ess 20Hz 20kHz
dynamic filter.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > DE ESS

De-Ess Filter
Bandwidth Field / Group: BwOct Range Low Range High
Adjust the bandwidth You can set the unit of adjustment (octave bandwidth or
or Q of the De-esser Q) in the main Settings screen, activated with the [menu] 0.2oct / 0.3Q 4oct / 8.7Q
dynamics filter button.
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.
Compressor
Threshold Field / Group: CMP Range Low Range High
Adjust the threshold of When the signal exceeds the threshold, it will be attenu-
-40dB +18dB
the compressor ated according to the compression settings.
Compressor In Field / Group: CMP Inactive Active
The the compression process is activated, the compres-

Activate the compressor
sion trnasform graphic in the dynamics touch screen Out In
process.
area will be highlighted in green.
Compressor
Attack Field / Group: ATCK Range Low Range High
The time it takes for the compression function to reach

Adjust the compressor
full attenuation after the threshold has been reached. 0.5mS 98.6mS
attack time.
The slower the attack time, the 'softer' the compression.
Compressor Re-
lease Time Field / Group: REL Range Low Range High
The time it takes for the compression function to return

to zero attentuation after full attentuation has been 5.5mS 5 Sec
release time.
reached.
Compressor Re-
lease Time Field / Group: REL Range Low Range High
The time it takes for the compression function to return

to zero attentuation after full attentuation has been 5.5mS 5 Sec
release time.
reached.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > DE ESS - COMPRESSOR

Compression
Ratio Field / Group: RTIO Range Low Range High
The ratio between the normal signal level and the attenu-
Adjust the compression
ated (compressed) signal level. The higher the ratio, the 1 20
ratio.
more compression is applied.
Compressor
Makeup Gain Field / Group: MKUP Range Low Range High
Adjust the post-com- Gain applied after the compresssor to account for level
-20dB +20dB
pression makeup gain. lost in compression.
Compressor
Automatic
Makeup Gain Field / Group: MKUP Inactive Active
When activated, this will apply makeup gain after the

Activate automatic
compressor automatically, depending on the settings of Off On
makeup gain.
the Threshold and Ratio controls.
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

The time taken for the limiter to reach full attentuation. 10uS 98.6mS
time.
Limiter Release
Time Field / Group: REL Range Low Range High
Adjust the Limiter The time taken for the limiter to return to zero attentuaion
5.5mS 957mS
release time. after limiting.
6.5.3 6.5.3: INPUT CHANNEL > DYNAMICS > COMPRESSOR - LIMITER

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

The Orange bars in the bus touch screen areas show
from the input channel
also aux send levels. The control display includes post / -90dB +10dB
to the numbered Aux
pre-fade routing of the aux buss.
Bus.
Auxiliary Send
On Field / Group: Aux n Inactive Active
Enables the numbered

The corresponding aux level bar in the bus touch screen
aux send from the input Off On
area is highlighted orange when the aux send is enabled.
channel.
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
The Stereo symbol above the encoder shows that this

aux send has been combined with its numerical neigh-
Adjust balance of the bour to create a stereo aux send. The 'neighbour' aux
numbered stereo aux send space will either be blank or show a balance con- 30L 30R
send. 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.
Group Buss
Routing Field / Group: Group n Inactive Active
Route the input channel The corresponding group assign bar in the bus touch
signal to the numbered screen area is extended and highlighted in blue when the Off On
group bus. numbered groups bus routing is enabled for this channel.
Stereo Group
Buss Routing Field / Group: Group n Inactive Active
The Stereo symbol above the encoder indicates that

Route the input channel
this group has been paired with its neighbour to create
signal to the numbered Off On
a stereo group buss that follows channel panning. The
stereo group buss.
neighbouring group display will be blank.
Buss 'Blank' Field / Group: Inactive Active
Shows this buss has

been assigned as a - -
Matrix buss.
6.5.4 6.5.4: INPUT CHANNEL > VISTONICS>BUSSES

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

If the channel is paired, the balance can be adjusted. If
Master L, R, and C
the Pan {MODE} is set to LCR, an additional WIDTH field 30L 30R
busses, depending on
becomes available.
pan mode chosen.
Panning On Field / Group: PAN Inactive Active
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
Activate or deactivate for mono channel panning and 0dB for paired channel
Off On
the panning controls. balance. If PAN is set to ON then the level to the master
busses varies between 0dB and -infinity. For balance
that becomes +3dB to -infinity.
6.5.5 6.5.5: INPUT CHANNEL > OUTS (PAN, INSERT, DIR, DELAY)

Field / Group: MAS-

LR On TER LR Inactive Active
Routes the channel

signal to the Left and Off On
Right masters.
Field / Group: MAS-

Centre On TER C Inactive Active
Routes the channel

signal to the Centre Off On
master bus.
Panning Mode Field / Group: MODE Range Low Range High
In LR Mode only Pan is available, though routing to the

Set either LR or LCR
C master bus is still possible. With LCR mode enabled, LR LCR
Mode.
the width parameter becomes available.
Insert Patch Field / Group: INSERT Active
Insert points provide a send and return path that inter-

rupts the channel signal flow.
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
Select and assign phys- by touching the (SETUP) button again. In Insert SETUP
Close Patch- Open Patch-
ical I/O for the insert mode you can choose send and retun I/O from any of
ing Screen. ing screen.
send and return. 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.
Insert Point Field / Group: POINT
Select the point in the

input channel's signal Options are post-HPF/Pre-processing, post-processing/
path for the insert point pre-fader, or post-fader.
'tap'.

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 Off On
channel.
Direct Output
Gain Field / Group: Range Low Range High
Adjust the gain of the

-90dB +10dB
channel's Direct Output.
Direct Output
Point Field / Group:
Select the point in the

input channel's signal Options are pre HPF, post-HPF/Pre-processing,
path for the Direct Out- post-processing/pre-fader, or post-fader.
put 'tap'.
Direct Output Field / Group: DIRECT

Patch OUT Inactive Active
Select and assign phys-

Opens a patching screen in the corresponding Vistonics Close Patch Open Patch
ical I/O for the direct
touch screen area. Screen Screen
output.

Vi3000 USER MANUAL 7.0: OUTPUTS
Outputs
Auxilliaries, Groups, and LCR Mix busses
7.0 7.0: OUTPUTS

MANUAL
Vi3000 USER 4.3: INPUT CHANNEL7.0:
> DYNAMICS
OUTPUTS
There are 24 configurable 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 configured as mono or stereo Matrix (MTX) outputs with full processing, each with up to 24
configurable 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.
4.3
7.0 INPUT CHANNEL
7.0:>OUTPUTS
De Esser

MANUAL
Vi3000 USER 7.1: OUTPUTS > LCR MASTERS
Outpus: LCR Mix Master Busses
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.
7.1 7.1: OUTPUTS > LCR MASTERS

MANUAL
Vi3000 USER 4.3:7.1:
INPUT CHANNEL
OUTPUTS > DYNAMICS
> LCR MASTERS
Isolate Active
Isolate the LRC Masters

from snapshot recall See the Snapshots / Global Filtering reference for more Channel
or Show Recall (with detail. isolated
global filtering acive).
On Inactive Active
Bus On/Off (Mute). Off (Muted) On
LCR Select Active0
Access the LCR Master Gives access to the procesing blocks in the Master LRC
Busses processing outputs via the touch screen area of the Master Bay GEQ In
page. Vistonics.
LCR Fader
The output levels of the LRC Master outputs are always

Control the output levels
controlled by their dedicated faders. Those faders are
of the LRC Masters
never used for anything else.
L/C/R Link
setup
Left and Right busses can be linked, or the Centre bus
can be added to the linked L and R so that all three
Set up LRC Master bus busses can be adjusted together. It is not possible to link
EQ and GEQ linking. 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
The output bus parametrc EQ is the same is used for the

Adjust the parameteric
input channel EQ. Please see the input channel refer-
EQ for this Master.
ence for more detail.
4.3
7.1 7.1:INPUT
OUTPUTS
CHANNEL
> LCR >MASTERS
De Esser

MANUAL
Vi3000 USER 7.1: OUTPUTS > LCR MASTERS
Access L/C/R
GEQ
Maps the BSS Graphic

See the BSS Graphics Equaliser reference later in this
equaliser for this block
chapter for more Detail.
to the console faders.
L/C/R Dynamics
The controls are identical to those of the input channels,

Access the L/C/R bus
except there are no Gate or De-Esser modes available
dynamics.
for output busses.
L/C/R Insert/
Delay etc
The controls for the Extra functions unique to the insert section of the output
Insert/Delay section are channels are Low Cut Filter, Phase, and Delay. However,
similar to those of the thse are the same as those in the Input section of the
input channels. input channels.
7.1 7.1: OUTPUTS > LCR MASTERS

MANUAL
Vi3000 USER 4.3: INPUT>CHANNEL
7.2: OUTPUTS > DYNAMICS
BUS CONFIGURATION
Outpus: Bus Configuration
To configure 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 final PAN/INSERT/DELAY processing
block and presing the {BUS OUT} and {OUT LABEL} buttons in the VST area.
4.3
7.2 7.2: OUTPUTS
INPUT
> BUS
CHANNEL
CONFIGURATION
> De Esser

MANUAL
Vi3000 USER 7.2: OUTPUTS > BUS CONFIGURATION
Bus Type
Choose from AUX, GRP or MTX with the encoder. If Aux

Set the Bus Type for
is selected and if the format field is set to stereo then the
this Bus.
{CHPAN} field is enabled.
Pan Follows
Channel
Set 'Pan follows chan- Set this so the panning into a stereo auxilliary follows the
nel' for a stereo bus. channel panning rather than the Aux panning.
Bus Format
Choose a format (mono For Stereo Auxilliary busses, the CHPAN option will
or stereo) for the bus. become available.
7.2 7.2: OUTPUTS > BUS CONFIGURATION

Vi3000 USER
MANUAL 4.3: INPUT
7.3: OUTPUTS CHANNEL
> BUS > DYNAMICS
MASTER CONTROL
Outpus: Bus Master Control
Outputs Controls
There are four ways of controlling the consoles 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.
4.3
7.3 7.3: OUTPUTS
INPUT
> BUSCHANNEL
MASTER >CONTROL
De Esser

MANUAL
Vi3000 USER 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 consoles 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 outputs processing chain in the Master Bay touch screen area.
In both cases, selecting a processing block will bring that blocks parameters up on the VST area of the Vistonics
screen.
7.3 7.3: OUTPUTS > BUS MASTER CONTROL

MANUAL
Vi3000 USER 4.3: INPUT
7.3.1: OUTPUTS CHANNEL >> VISTONICS
> MASTERS DYNAMICS
Outpus: Master Bay Vistonics
With the Bus Master Controls in the VST fields 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.
Talkback
Assign Mode
Assign the {TB ASSN}

See the Talkback and Oscillator chapter for more infor-
function to the bus mas-
mation.
ters VST buttons.
On/Off Mode
Assign the {ON} func-

tion to the bus masters
VST buttons.
Solo/Sel Mode
Assigns the {SOLO} function to the bus masters VST

Enable solo/Select buttons and let the Bus channel strip [SOLO/SEL]
Mode buttons access the bus parameters via the Master Bay
touch screen.
4.3
7.3.1 7.3.1: OUTPUTS
INPUT
> MASTERS
CHANNEL
> VISTONICS
> De Esser

MANUAL
Vi3000 USER 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 See the Talkback and Oscillator chapter for more infor-
Talkback system. mation.
7.3.1 7.3.1: OUTPUTS > MASTERS > VISTONICS

MANUAL
Vi3000 USER 4.3: INPUT>CHANNEL
7.3.2: OUTPUTS MASTERS>>DYNAMICS
CHANNEL
Outpus: Master Channel Strip
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.
4.3
7.3.2 7.3.2: OUTPUTS
INPUT
> MASTERS
CHANNEL>>CHANNEL
De Esser

MANUAL
Vi3000 USER 7.3.2: OUTPUTS > MASTERS > CHANNEL
ISO: Isolate
Bus
Isolate this bus from

snapshot recall and
See the Snapshot and Global Filtering chapter for more
Show recall (when
information.
Global Filtering is
active)
Mute Safe LED
Indicate when Mute When the Mute Safe system is enabled (in Monitoring
Safe is active for this section [SETUP]), then the channel strip SOLO/SEL
bus. button activates the Mute Safe status for that channel.
Bus Fader
Control the the bus

master output level.
FaderGlow
Input channel levels are not colour-coded. The other

The channel fader is
FaderGlow colours are Aux Sends: ORANGE; Groups:
colour-coded depending
GREEN; Matrix Contribution: CYAN; VCA Master 1-8:
on its function.
BLUE; VCA Master 9-16: PINK.
Bus MUTE/VCA
Display
Shows mute group and

VCA group assignment
for this channel.
Bus SOLO/SEL
If a touch-panel screen is open for the for another chan-
nel in the same bay, the [SOLO/SEL] button moves the
Defaults to adding the touch screen to this channel. The button has other func-
a SOLO enable for the tions in other console modes such as selecting channel
channel. for a Copy or Paste edit function. Other functions for
the [SOLO/SEL] button are detailed in the appropriate
reference sections.
7.3.2 7.3.2: OUTPUTS > MASTERS > CHANNEL

MANUAL
Vi3000 USER 4.3: INPUT> CHANNEL
7.3.3: OUTPUTS MASTERS>>DYNAMICS
PROCESS
Outpus: Master Bus Processing Chain
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.
4.3
7.3.3 7.3.3: OUTPUTS
INPUT
> MASTERS
CHANNEL> >PROCESS
De Esser

MANUAL
Vi3000 USER 7.3.3: OUTPUTS > MASTERS > PROCESS
Bus Channel
Strip EQ
The output bus parametrc EQ is the same is used for the

Adjust the parameteric
input channel EQ. Please see the input channel refer-
EQ for this Master.
ence for more detail.
Bus Channel
Strip GEQ
Maps the BSS Graphic

See the BSS Graphics Equaliser reference later in this
equaliser for this block
chapter for more Detail.
to the console faders.
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
Patch and name the buss, as well as control panning

The controls for the
insert configuration, delay, and more. Extra functions
insert section are similar
unique to the insert section of the output channels are
to those of the input
Low Cut Filter, Phase, and Delay. However, thse are the
channels.
same as those in the Input section of the input channels.
7.3.3 7.3.3: OUTPUTS > MASTERS > PROCESS

Vi3000 USER MANUAL 4.3: INPUT
7.4: OUTPUTS
CHANNEL> GRAPHIC
> DYNAMICS
EQ
Graphic Equalisers (GEQ)
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 outputs 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 channels 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.
4.3
7.4 7.4:
INPUT
OUTPUTS
CHANNEL
> GRAPHIC
> De Esser
EQ

MANUAL
Vi3000 USER 4.3: INPUT CHANNEL
7.4: OUTPUTS > DYNAMICS
> GRAPHIC EQ
Bandwidth Range Low Range High
The Bandwidth units can either be Q or Octaves,

Adjust the bandwidth of
depending on the {EQ UNIT} setting in the Main Menu 0.24Oct 0.36Oct
the 30 GEQ bands.
(Settings Tab).
Flatten All Active
Flatten levels of all

All GEQ
bands of the currently
bands 0dB
active GEQ to 0dB.
GEQ In Inactive Active
Activate or deactivate
the currently selected GEQ Out GEQ In
GEQ.
Graphic EQ
Fader Range Low Range High
The FaderGlow colour for a GEQ band is red. The centre

Adjust the level of the
frequency of the band is shown in the channel label -12dB +12dB
corresponding band.
display.
GEQ Fader On
Button Active
When you adjust the level of a GEQ band, the corre-

Indicates which GEQ
sponding [ON] button is highlighted in red. A subsequent Band level
bands are non-zero,
press of the [ON] button will flatten/null the band and turn 0dB
and flattens bands.
the [ON] light off.
4.3
7.4 7.4:
INPUT
OUTPUTS
CHANNEL
> GRAPHIC
> De Esser
EQ

Vi3000 USER MANUAL 8.0: MATRIX
Monitoring Matrix
Instead of a simple Output matrix, the console has a built-in, freely-configurable 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 configurable 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 first be congfigured 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, first 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.
8.0 8.0: MATRIX

Vi3000 USER MANUAL 4.3: INPUT CHANNEL >8.0:
DYNAMICS
MATRIX
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
If the Matrix bus is stereo, the Pan control will appear

above each Matrix Source fader allowing the selected
Pan control for stereo
source to be positioned within the stereo image of the
Matrix sources.
Matrix bus. If the Matrix is mono, this control will have no
function.
Matrix Source
Source
The button opens up a patch selection screen with all

Choose a source for
available matrix sources, including output busses, physi-
this matrix input.
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.
4.3
8.0 INPUT CHANNEL8.0:
> DeMATRIX
Esser

Vi3000 USER MANUAL 9.0: MUTE & VCA GROUPS
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.
9.0 9.0: MUTE & VCA GROUPS

Vi3000 USER
MANUAL 4.3:&INPUT
9.1: MUTE CHANNEL
VCA GRPS > DYNAMICS
> MUTE GROUPS
Mute Groups Operation
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 channels ON button glows red.
Mute group assignment is started by pressing the MUTE & VCA GROUPS [SETUP] button (see below).
Mute Setup Inactive Active
The [SETUP] button will glow blue when pressed. The

Press the MUTE & VCA
chosen mute group master button - [1], [2], [3], or [4]
GROUPS [SETUP]
- will glow red when you select that group. Press the Mute Setup
button, then chose a Normal
[SOLO/SEL] key of any channels (input and/or outputs) Mode
Mute Group button to
to be assigned to the selected mute group, then press
configure that group.
[SETUP] again to exit the configuration mode.
Mute Group 'n' Inactive Active
In normal use, the mute groups selectors will activate

Press to activate / select Mute Group
the chosen mute group (mute those channels). In setup Normal
a Mute Group. Selected
mode they select a mute group to be set up.
4.3
9.1 9.1: MUTE & VCA
INPUT
GRPS
CHANNEL
> MUTE> GROUPS
De Esser

MANUAL
Vi3000 USER 9.2 MUTE & VCA GRPS > VCA GROUPS
VCA Group Operation
VCA Groups configuration 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, dont 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 configuration mode.
VCA and 'E'
Buttons Active
The [VCA] button maps VCA masters 1-8 to the eight

Master Bay faders. The [E] button maps VCA masters
Fader Pages buttons for 9-16 to the eight Master Bay faders.
Select VCA
mapping VCAs to the VCA Masters 1-16 can be assigned to any Output Fader
Range
Master Bay faders. page from A to E, along with Bus Output faders using the
User Defined fader page setup. The VCA page cannot
be remapped and always contains VCA 1-8.
VCA Masters
[ON] Buttons Inactive Active
If a channel that was previously on is turned off by the

action of a VCA Master [ON]/Off button, the channels
Master On/Off button for All VCA
[ON] button will illuminate in red to distinguish this condi- All VCA Mem-
all of the VCA's member Members
tion from a manually 'off' channel. bers ON
channels. OFF (muted)
The VCA Master On/Off switch itself has only 2 states,
and always illuminates red when off, and green when on.
VCA Group
Fader Low Range
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
An offset dB level for as the arithmetic sum of the dB values of each VCA
all channels that are Master.
-infinity
members of the VCA Any VCA master fader reaching infinity dB (fader at
Group. lowet position) will set all member channels to infinity
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.
VCA Master
Solo/Sel Inactive Active
Depending on the setting of the AUTO button in the

Monitor Setup page (SOLO section), activating a VCA
A master Solo button for Solo will result in PFL (if the group only has one member
all of the VCA's member channel) or AFL (if the group has more than one member Normal Soloed
channels. channel).
Otherwise the VCA solo will follow the setting of the PFL/
AFL switch in the Monitor Setup page.
9.2 9.2: MUTE & VCA GRPS > VCA GROUPS

MANUAL
9.2 MUTE & VCACHANNEL > DYNAMICS
GRPS > VCA GROUPS
VCA Setup Inactive Active
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
Press the MUTE & VCA
on any channels you wish to make part of that VCA
GROUPS [SETUP] but-
group. Then either press the [SETUP] button again to
ton, then chose a VCA Normal Setup Mode
exit the configuration mode, or press another VCA Mas-
[SOLO/SEL] to config-
ter [SOLO/SEL] button to configure a new VCA group.
ure that VCA group.
During configuration of VCA groups, a number of options
become available in the Master Bay touch screen and
VST area (see below).
Bulk Assign
VCA
Select all input channels

Select the VCA Group you require by pressing its
or no channels as mem-
[SOLO/Sel] button first.
bers of the VCA Group.
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 Either set the currently selected master to 0dB, or all aux
0dB. send VCA masters (see Aux VCA Mode reference).
Label VCA
Group
Opens up a standard
labelling keyboard in
Hide Label- Show Label-
the Master Bay touch
ling Keyboard ling Keyboard
screen area for labelling
the VCA master.
Aux VCA Mode

[On]/Off
When in fader [FLW] mode and an Aux master is
See the curently se- selected, VCA Masters set to 'ON' will control the Aux
lected Aux VCA Master VCA group, not the 'normal VCA group. Aux VCA group Aux VCA
Normal
on or off (see Aux VCA master faders are highlighted with white FaderGlow, Mode Active
Mode reference). while 'normal' channel VCAs are highlighted with blue
FaderGlow.
4.3
9.2 9.2: MUTE &INPUT
VCA GRPS
CHANNEL
> VCA> GROUPS
De Esser

MANUAL 9.3 MUTE & VCA GRPS > AUX VCA GROUPS
Vi3000 USER
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 configured 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.
9.3 9.3 MUTE & VCA GRPS > AUX VCA GROUPS

MANUAL
Vi3000 USER 9.3 MUTE 4.3:
& VCAINPUT CHANNEL
GRPS > DYNAMICS
> 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.
4.3
9.3 9.3 MUTE & VCAINPUT
GRPSCHANNEL
> AUX VCA> GROUPS
De Esser

Vi3000 USER MANUAL 10.0: MONITORING
Monitoring System
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-defined stereo sources where the left and right
singals can be patched independantly
10.0 10.0: MONITORING

10.0: MONITORING
> DYNAMICS
4.3
10.0 INPUT CHANNEL
10.0: MONITORING
> De Esser

Vi3000 USER MANUAL 10.1: MONITORING > CONTROL
Monitoring: Console Controls
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-definable 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 consoles Solo system logic and general use is
described in the next chapter (11).
10.1 10.1: MONITORING > CONTROL

INPUTMONITORING
CHANNEL >>DYNAMICS
CONTROL
MNTR B - Moni-
tor A/B Select Inactive Active
Select either the A or

the B monitor to be
displayed on the meter, Both Monitor A and B sources are always active -
to be controlled by (respecting their individual On/Off status'). The MTR B Monitor A Monitor B
the fader, and to be button changes metering and control assignment.
switched on and off by
the [ON] switch.
Monitor Fader Range Low Range High
Control monitoring
-Infinty +10dB
volume level.
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 The [SETUP] key glows blue when it is active. SETUP Active
screen.
Headphones
Level Range Low Range High
The headphone output socket is located under the arm-

Control the headphones
rest at the front of the console, and is designed for head- OFF +20dB
volume level.
phones with impedances in the range 50-600 Ohms.
Solo Trim Range Low Range High
This control is SOLO context sensitive. It is possible to

Trims source SOLO
set a different trim for each of the 24 outputs in addition -10dB +10dB
Level.
to a global input solo trim level.
4.3
10.1 10.1:
INPUT
MONITORING
CHANNEL> >CONTROL
De Esser

Vi3000 USER MANUAL 10.1: MONITORING > CONTROL
Solo Blend Range Low Range High
Adjust the background The level of the non-solo source adjusted from OFF to
monitor_con_solo-
level of the monitoring -10dB to allow solos to be heard in the context of a mix OFF -10dB
Blend.jpg
source signal. that has a reduced level.
Solo Input Pri-

ority Active
Allows an Output Solo to remain active, whilst an Input

Solo is temporarily activated over the top of it. When
monitor_con_soloIn- Activate Input Priority Input Priority
the Input Solo is deactivated, the Output Solos audio
Priority.jpg Mode Active
will return to the Solo Bus. For more detail, see the Solo
System reference chapter 11.
10.1 10.1: MONITORING > CONTROL

10.2: CHANNEL
MONITORING
> DYNAMICS
> SETUP
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
Input Solo
Source
Choose either input

The AUTO option works by selecting PFL when only
channel PFL, AFL, or
one solo is active and AFL when more than one solo is
'AUTO' as the Input
active.
Solo source.
Output solo
source
Choose either output

buss PFL or AFL as the
Output Solo Source.
4.3
10.2 10.2:
INPUT MONITORING
CHANNEL > De
> SETUP
Esser

Vi3000 USER MANUAL 10.2: MONITORING > SETUP
Solo-In-Place
Mode
This is a destructive mode for use only during sound-

checks or rehearsals. When a channel is soloed in SIP
Activate the SOLO-IN-
mode, all other channels are muted so that only the
PLACE mode.
soloed channel is heard, in its stereo position, at the
consoles mix outputs.
Mute Safe
Mode
If (MUTE SAFE) is active the Mute safe state from the

Enable the Mute Safe Input channels can be toggled with the Channels SEL
(SIP isolation) configu- Key. The state for a given channel is indicated by that
ration mode. channels Mute Safe LED. NOTE: This configuration
mode is disabled when the setup page is exited.
MON SETUP
Mode
The Monitor Setup sub-page parameters become availa-

Activate the Monitor
ble in the VST area of the master screen. See below for
Setup sub-page.
more details.
Auto Cancel
Mode
TBC
LCR Source
Select
For the Monitor A (LCR) output you can choose LCR

Select the mix master
and/or C; for the Monitor B and Headphone outputs you
output sources for the
can choose LR and/or C. This selection cannot be com-
monitor outputs A, B,
bined with the User A or User B sources, but solo and
and HP
talkback options are concurrent.
User A / B
Source Select
Choose EITHER User A or User B as a main source

Select the user-defined
for the monitoring output. This selection cannot be
output source for the
combined with the LCR, LR, or C sources, but solo and
monitor outputs A, B
talkback options are concurrent. Each of the monitoring
and HP.
outputs has its own individual USER A / B assignment.
10.2 10.2: MONITORING > SETUP

10.2: CHANNEL
MONITORING
> DYNAMICS
> SETUP
Input Solo Se-

lect
Route the Input Solo

The Input Solo signal is defined in the SOLO section of
Signal to the Monitor
the monitor setup screen. Each of the monitoring outputs
A, B, and headphone
has its own individual IN SOLO assignment.
outputs.
Output Solo
Select
Route the Output Solo

The Output Solo signal is defined in the SOLO section of
Signal to the Monitor
the monitor setup screen. Each of the monitoring outputs
A, B, and Headphone
has its own individual OUT SOLO assignment.
outputs.
Talkback Re-
turn Select
Route the Talkback

Return Signal to the Each of the monitoring outputs has its own individual
Monitor A, B, and Head- Talkback Return assignment.
phone outputs.
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
LR - left source to left monitor out and right source to
right monitor out RL - left source to right monitor out,
Selects one of the
right source to left monitor out LL - left source to left
stereo format options to
and right monitor outputs RR - right source to left
be the listening format
and right monitor outs Mono - left and right source is
for the Monitor A, B, and
summed and fed to left and right monitor. The Centre
Headphone outputs.
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-

Zero Delay NEEDED
itoring delay time.
4.3
10.2 10.2:
INPUT MONITORING
CHANNEL > De
> SETUP
Esser

Vi3000 USER MANUAL 10.2: MONITORING > SETUP
Monitoring
delay Range Low Range High
The monitor delay allows the headphones and/or monitor

speakers to be time-aligned to the output from the main
Adjust the monitoring
PA system, when working at a distance from the PA Zero Delay 2000mS
delay.
speakers. The delay applies to all three monitor outputs
(Monitor A, B, and Headphones).
Monitoring
delay ON
Activate/Deactivate the
monitoring delay.
10.2 10.2: MONITORING > SETUP

4.3: INPUT
MONITORING
CHANNEL> >MON
DYNAMICS
SETUP
MON Setup
Mon Setup is a sub-screen of the Monitoring setup screen for setting up fundamental configurations such as physical
patching and naming for the User sources.
User A and B
Patching
When selected, the source assignment screen is

Assign the input, indi-
displayed on the touch screen. You can assign any
vidually, for the User A
available input, individually, to the left and right User
and User B monitoring
channels - including console I/O, group busses, mix buss
sources.
channels, and solo channels.
User A and B
Labelling
When selected the keyboard input screen is shown on

Label the User A and B the touch screen. You can relabel the 'USER A' and
monitor sources. 'USER B' via the screen keyboard or a connected USB
keyboard.
4.3
10.2.1 10.2.1: MONITORING
INPUT CHANNEL
> MON
> DeSETUP
Esser

Vi3000 USER MANUAL 10.2.1: MONITORING > MON SETUP
Outputs Solo
Assign
When selected, an output assignment screen is dis-
played in the master touch screen area. You can select
individual output buss solos for the specific monitor
output. This is useful for stage monitoring applica-
Assign individual Output
tions where the solos of in-ear monitor mixes could be
Solos to Monitor A,
programmed to appear only on Monitor B for example,
B, and Headphones
which could have an in-ear headphone system connect-
outputs.
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

The DIM function is only activated if the Return Talkback
DIM Level between 0 -infinty 0dB
function is activated via the GPIO facility.
and infinity.
10.2.1 10.2.1: MONITORING > MON SETUP

Vi3000 USER MANUAL 11.0: SOLO System
SOLO SYSTEM BEHAVIOUR
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 first 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
reflect 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.
11.1 11.1: SOLO > PRIMARY BEHAVIOUR

11.0: SOLO
> DYNAMICS
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 Outputs Solo/Sel switch remains illuminated. When the Input Solo is
deactivated, the Output Solos 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 first 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
4.3
11.3 - 11.3 11.3: SOLO > INPUT
AUTO CANCEL
CHANNELBEHAVIOUR
> De Esser

Vi3000 USER MANUAL 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 buss
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.
11.4 11.4: SOLO > FOLLOW OUTPUT SOLO

Vi3000 USER MANUAL 12.0: METERING
Console 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 floating-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.
12.0 12.0: METERING

12.1:
CHANNEL
METERING
> DYNAMICS
> INPUTS
Input Channel Metering
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 flow and the metering peak hold time can be selected in the main set-
tings screen (via the [MENU] button), in the (Settings) tab.
Input Level
Meter
Shows the input level

at the selected point in The overload (OVL) LED indicates an overloaded ana-
the input channel signal logue input (mic preamp clipping).
path.
Input Gain Re-

duction Meter
Shows the overall gain

reduction of the limiter
and compressor stages,
if they are engaged.
4.3
12.1 INPUT
12.1: METERING
CHANNEL >>De
INPUTS
Esser

Vi3000 USER MANUAL 12.2: METERING > BUSSES
Bus Master Metering
Bus Meters
Bus Masters can be configured 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
Show the buss master
gain reduction of the limiter and compressor, if they are
signal levels.
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 The overload LED indicates a value that is higher than
L and R masters share Full Scale (analogue output-stage clipping).
a stereo meter, and the
C master has a mono
version.
Monitor Bus
Metering
The monitor section has

a stereo level meter, but
there is no GRM associ-
ated with the monitor.
12.2 12.2: METERING > BUSSES

Vi3000 USER MANUAL 13.0: EDIT & LIBRARY SYSTEM
Edit & Library System - Copy, Paste, Undo, and Library Storage
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 consoles 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.
13.0 13.0: EDIT & LIBRARY SYSTEM

13.1: EDITCHANNEL > DYNAMICS
> 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 consoles internal Lexicon FX units.
The last paste operation can be quickly reversed with the UNDO function.
Copy, Paste,
and Undo Active
Used for selecting channels, processing blocks, and

Put the console into parameters and copying them to the clipboard. In copy Copy Mode
Copy mode. mode, the console [SEL] keys illuminate in blue to indi- Active
cate their function as selects rather than as Solos.
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 first 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 blocks Touch field. Indication that a whole function block is select-
ed is shown with a wide yellow indicator in the top left corner of the field.
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
field. Alternatively you can enter the Zoom mode, before you activate Copy mode by pressing the touch field 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.
4.3
13.1 13.1: EDIT
INPUT> CHANNEL
COPY, PASTE,
> DeUNDO
Esser

Vi3000 USER MANUAL 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
To paste anything selected in Copy mode, press [Paste]

to enter Paste mode, then select the destination channel
Enter paste mode to by pressing its [SOLO/SEL] button or touching any VST
Paste any channels, field on the channel. The clipboard content is immedi-
processing blocks, ately copied to each selected channel. Once you have
Paste Mode
parameters, or Lexicon finished, press the [PASTE] button again to exit Paste
Active
FX settings (selected in Mode and enter normal operation.
Copy mode) to a new IMPORTANT! Remember to switch PASTE mode off
destination. immediately after use, otherwise accidental pasting
of the clipboard will occur the next time you touch a
screen or press a Solo/Sel.
Undo Edit
Undo the last paste Copy Mode

operation. Active
13.1 13.1: EDIT > COPY, PASTE, UNDO

INPUTEDIT
CHANNEL
> LIBRARY
> DYNAMICS
BASICS
Libraries
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 - first.
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.
4.3
13.2 13.2:
INPUT
EDIT
CHANNEL
> LIBRARY
> De
BASICS
Esser

Vi3000 USER MANUAL 13.2: EDIT > LIBRARY BASICS
Library - Library Folders
The Library File System
The Library file system itself comprises a system of folders that reside on the consoles internal flash 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 fixed and cannot be modified.
Also, only elements that have a Category can be stored individually to the Library For example, there is no Category
13.2 13.2: EDIT > LIBRARY BASICS

INPUTEDIT
CHANNEL
> LIBRARY
> DYNAMICS
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,
modified 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
file size of each Library entry is very small (typically less than 100kB for individual single channel Entries).
4.3
13.2 13.2:
INPUT
EDIT
CHANNEL
> LIBRARY
> De
BASICS
Esser

Vi3000 USER MANUAL 13.3: EDIT > LIBRARY FILE SCREEN
LIBRARY FILE SCREEN
The Library file 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.
File Path
Always shows the currently selected directory, Copy Mode

and the file path to it. Active
Library
Navigates directly to the Library directory.
13.3 13.3: EDIT > LIBRARY FILE SCREEN

4.3:EDIT
INPUT
> LIBRARY
CHANNELFILE
> DYNAMICS
SCREEN
DIrectory UP
Navigate the file 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 You cannot delete a Library that
item. is currently loaded.
Save As
Save a copy of the library under a new name.
New Library
The {NEW} button only appears

Create a new (empty) User Library.
at the Library directory level.
Select Folder/
File
Libraries that are currently load-

ed will have the {SEL} button
Select the highlighted item. and be labelled in yellow text.
Libraries that are not loaded
have the {LOAD} button.
4.3
13.3 13.3: EDIT
INPUT
> LIBRARY
CHANNEL
FILE
> De
SCREEN
Esser

Vi3000 USER MANUAL 13.3: EDIT > LIBRARY FILE SCREEN
Load Library
Load the highlighted Library.
Export/Import
Library/Item
For example, with a Library item selected in
the internal Library (right hand side of the file
Import or export a Library or Li-
screen) and a USB storage device selected,
brary item to or from the selected
hitting the Export arrow will copy the selection
USB storage device.
into currently selected Library on the storage
device, into the correct category.
USB Storage
Select
Select a connected USB Storage device.
13.3 13.3: EDIT > LIBRARY FILE SCREEN

Vi3000 USER MANUAL 14.0: SNAPSHOTS, CUELISTS, FILTERS
Snapshots, Cuelists, and Global Filtering
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 filtering system call global filtering which affects all snapshots. This uses the [ISO] but-
tons on the console. The global filtering system can isolate console channels, blocks, and prameters from both snap-
shot and show file recall.
Details on all aspects of snapshots, cue lists, and global filtering are included in this reference chapter.
14.0 14.0: SNAPSHOTS, CUELISTS, FILTERS

MANUAL
Vi3000 USER 14.1: 4.3: INPUT CHANNEL
SNAPSHOTS, CUES >>CONTROLS
DYNAMICS
14.1: Snapshot, Cuelist, and Global Filter Console Controls
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.
Snapshot/Cues
Setup Active
Access snapshot and

cue filtering set-up Show setup
page in the Master Bay screen
tpouch screen.
Data Sockets Active
Accept USB Storage

devices for show There are two more USB sockets on the rear of the Show setup
storage and Media console. screen
playback.
Undo Action
Undo the effect of

pressing the [RECALL],
[NEXT], or [LAST]
buttons.
Store Snapshot Active
Store a snapshot of the

The new cue will be stored and numbered between the
current console state
currently selected cue and the next. For example, if you
into a new cue and Store snap-
have selected cue 2 of 3 and then press the [STORE]
open up the Snapshot/ shot
button, the new cue will be numbered 1.5. If you have
Cue settings page in the
cue 3 of 3 selected, the new cue will be numbered 4.
Master Control screen.
4.3
14.1 14.1: SNAPSHOTS,
INPUT CHANNEL
CUES > CONTROLS
> De Esser

MANUAL
Vi3000 USER 14.1: SNAPSHOTS, CUES > CONTROLS
Preview Mode Inactive Active
Make the cue list avail-

able for preview via the When Preview Mode is deactivated, the cue list will
Activate Pre-
cue selection buttons return to the cue selected before Preview Mode was Normal
view Mode
[LAST], [NEXT], [UP}, activated.
and [DOWN].
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
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
Isolate ('protect') this sections, processing blocks, and so on by holding an [ISO] key down and selecting those
channel or selected blocks/sections. Any isolated channel or selection will not be affected by the RECALL of a
parameters from the ef- snapshot from the cue list.
fects of snapshot recall If you have 'LOAD ISO WITH SHOW' (Snapshot Set-up) set to 'No' then your selections will
or Show recall. 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.
14.1 14.1: SNAPSHOTS, CUES > CONTROLS

MANUAL
Vi3000 USER 4.3:SNAPSHOTS,
14.2: INPUT CHANNEL
CUES> >DYNAMICS
CUELIST
14.2: Cuelist Control
The Cue List shows all stored cues in the current Shows 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.
Cue Selection
Like the [UP] and [DOWN] buttons on the console, these

Select next and previ- buttons select the cue but do not recall a snapshot.
ous snapshots in the Pressing [RECALL] will recall a selected snapshot.
cue list. These buttons are also used to select multiple cues,
together with the (SELECT) and (MULTI SELECT) keys.
Delete Cue
You will be asked "Are you sure you sure you want to
Delete selected cue /
delete the selected cue/s?" and given response options
cues.
(YES) or (NO).
4.3
INPUT CHANNEL
CUES >> CUELIST
De Esser

MANUAL
Vi3000 USER 14.2: SNAPSHOTS, CUES > CUELIST
New Cue
The new cue will be stored and numbered between the

Store a snapshot of the currently selected cue and the next. For example, if you
current console state have selected cue 2 of 3 and then press the [STORE]
into a new cue. 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
If multiple cues are selected, the duplicates will be stored

Duplicate the currently
sequentially, after the final cue in the selection. Duplicate
selected cue or cues.
cues are renamed with a 'D_' prefix.
Move Cue
Move the selected cue

The (MOVE) button becomes the (DROP) button when
or cues to a new posi-
selected.
tion in the cue list.
Select Cue
Add the currently high- To create a multi-selection of non-contiguous cues, high-

lighted cue to a selec- light cues with the (UP) and (DOWN) buttons and click
tion of multiple cues. (SELECT) to add them to the selection.
Multiselect
Cues
Create a contiguous To select multiple, contiguous cues, highlight the first or

selection of multiple last in the selection, click (MULTI SELECT), then select
cues. the range with the (UP) and (DOWN) buttons.
Select All Cues
Select all cues in the

current cue list.
14.2 14.2: SNAPSHOTS, CUES > CUELIST

MANUAL
Vi3000 USER 4.3:SNAPSHOTS,
14.2: INPUT CHANNEL
CUES> >DYNAMICS
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

Cue names, which may incorporate the original cue num-
the cue list as consecu-
bering, remain unchanged.
tive integers.
Scroll The Cue

List
Scroll through the cue

Usually faster than the Up and Down buttons.
list using the encoder.
Apply
Changes To
Scoped
Parameters In
Selected Cues Inactive Active
Select {START} to enter this mode. You can then use the
scope settings to filter process and channel selections,
Mode used to apply and use the cue list's cue-selection functions to choose Enter 'Apply
Normal
new settings to selected which cues will be affected. Only 'scoped' selections will Changes
Operation
cues. be applied to selected cues when you click the (APPLY} Mode
button. You can click the {CANCEL} button at any time to
leave this mode.
4.3
INPUT CHANNEL
CUES >> CUELIST
De Esser

MANUAL
Vi3000 USER 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 cues
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.
14.3 14.3: SNAPSHOTS, CUES > CUE DETAILS

MANUAL
14.3.1: CUES CHANNEL
> CUE > DYNAMICS
NUMBER/TIMECODE
14.3.1: Cues: Number and Timecode
Selecting a cue number in the cue list gives access to that cues basic settings, plus MIDI timecode recall event set-
tings and the GO TO CUE local sequencing function.
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
fields.
Set Timecode Range Low Range High
Manually set or adjust

the MIDI timecode Encoders adjust H (Hours), M (Minutes), S (Seconds), dependant on
0 time
at which the cue is and F (Frames). field
recalled.
4.3
14.3.1 14.3.1: CUES >INPUT
CUE CHANNEL
NUMBER/TIMECODE
> De Esser

MANUAL
Vi3000 USER 14.3.1: CUES > CUE NUMBER/TIMECODE
Enable Cue Inactive Active
Enable or disable this Enabled cues are shown in white in the cue list. Disabled
Cue Disabled Cue Enabled
cue. cues are shown 'greyed out'.
Enable Cue Inactive Active
Enable or disable this Enabled cues are shown in white in the cue list. Disabled
Cue Disabled Cue Enabled
cue. cues are shown 'greyed out'.
Go To Cue
Number Select Range Low Range High
Set a following cue

number - to be recalled
Can be very useful for firing a number of events from one
a set amount of time First Cue Last Cue
cue activation.
after this cue has been
recalled.
'Go To Cue' On Inactive Active
Activate the GO TO
CUE functionality for OFF ON
this cue.
'Go To Cue'
Time Range Low Range High
The amount of time that

will elapse before the
0.5 Secs 30 Secs
'GO TO CUE' cue is
recalled.
14.3.1 14.3.1: CUES > CUE NUMBER/TIMECODE

MANUAL
Vi3000 USER 14.3.2:4.3:
CUESINPUT CHANNEL >/ CUE
> SNAPSHOT DYNAMICS
NAME
14.3.2: Snapshot detail
Selecting a snapshot name in the cue list gives access to that cues snapshot-specific settings and functions.
Enable UA
Realtime Rack
Snapshot Re-
call
Enable snapshot recall

for connected Sound-
craft / Universal Audio
Realtime Racks.
Snapshot Re-
call Enable
This is enabled by default, though you can choose to

Enable or disable the
disable it and therefore only trigger cue-based events
snapshot in this cue.
such as MIDI outputs and GPO events.
Snapshot Notes
Activate keyboard entry

for snapshot notes. You
Clear Notes Display Notes
can use the on-screen
Screen Screen
keyboard or an external
USB keyboard.
4.3
14.3.2 14.3.2: CUESINPUT
> SNAPSHOT
CHANNEL
/ CUE
> DeNAME
Esser

MANUAL
Vi3000 USER 14.3.2: CUES > SNAPSHOT / CUE NAME
Scroll The Cue

List

Usually faster than the Up and Down buttons. Cue Enabled
Scroll The Cue

List

Usually faster than the Up and Down buttons. Cue Enabled
XFade On
Activate snap-
Can be very useful for firing a number of events from one
shot-to-snapshot cross First Cue Last Cue
cue activation.
fading function
Crossfade Time
Setting
Adjust duration for

100mS 30Secs
snapshot crossfades.
Switches
30 Secs
14.3.2 14.3.2: CUES > SNAPSHOT / CUE NAME

MANUAL
Vi3000 USER 4.3: INPUT CHANNEL > DYNAMICS
14.3.3: CUES > MIDI
14.3.3: Cue MIDI Detail
Selecting the MIDI column in a cue list entry gives access to that cues MIDI input trigger and output settings.
The output section defines 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.
MIDI Input
Triggering
Enable
Activate the MIDI input When active, this cue will be recalled when the speci-
recall trigger for this fied MIDI message is received from the specified MIDI
cue. device.
MIDI In
Message Type
New VST area fields will be activated depending on
which MIDI message type is selected. For example, if a
Select a message type Note On message is selected, only the {NOTE VALUE}
to be the cue recall field will be available. If a Controller message is select-
trigger. ed, then {CONTROLLER NUMBER} and {VALUE} will
be available. When any valid message is selected, the
{CHANNEL} field becomes available.
4.3
14.3.3 INPUT CHANNEL
14.3.3: CUES
> De> Esser
MIDI

MANUAL
Vi3000 USER 14.3.3: CUES > SNAPSHOT / CUE NAME
MIDI In Mes-
sage Learn Inactive Active
Activate Learn mode

When LEARN mode is active, the next MIDI message Normal Learn Mode
for MIDI input message
received will be entered into the MIDI message fields. Operation Active
type.
MIDI Input
Channel
MIDI devices are set up in the master MIDI Settings

Select a MIDI device section, though default to numbered (and available) MIDI
as the recall trigger inputs and channels. A Global device is also available,
'carrier'. which defaults to 'OMNI' but can be customised in the
master MIDI settings section.
MIDI Output En-

able/Disable Active
Enable or Disable MIDI A Cue's MIDI output consists of a message event list that Cue MIDI Out
output for this cue. is transmitted when the cue is triggered. enabled
MIDI Output
Event Number Range Low Range High
Set the MIDI output

There are up to 20 MIDI output events available for each
event number to be 1 20
cue.
edited.
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
New VST area fields will be activated depending on
which MIDI message type is selected. For example, if
Select a message type a Note On message is selected, the {NOTE VALUE}
for the selected MIDI and {VELOCITY} fields will be available. If a Controller
event. message is selected, then {CONTROLLER NUMBER}
and {VALUE} will be available. When any valid message
is selected, the {CHANNEL} field becomes available.
14.3.3 14.3.3: CUES > MIDI

MANUAL
14.3.4: CUES > GPIO
14.3.4: Cue GPIO Detail
Selecting a the GPIO column in the cue list gives access to that cues 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 defines 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.
GPI On Active
Enable GPI triggering Enable GPI

for recall of this cue. for this cue
GPI Virtual Pin

Select Range Low Range High
Select a virtual GPIO

pin as a recall trigger for 0 80
this cue.
4.3
14.3.4: CUES
> De
> Esser
GPIO

MANUAL
Vi3000 USER 14.3.4: CUES > GPIO
GPI Pin Steal
'Steal' a virtual GPIO pin

Stealing a GPIO pin deactivates the GPIO mapping that
that is being used by the
is set up in the main GPIO Settings section.
main GPIO system.
GPI Pin Steal
'Steal' a virtual GPIO pin

Stealing a GPIO pin deactivates the GPIO mapping that
that is being used by the
is set up in the main GPIO Settings section.
main GPIO system.
GPI Physical
Pin
Displays the physical

pin number that corre-
sponds to the selected
virtual pin.
Console
Blackout Active
Activate
Sets a 'console black- The blackout turns off all console lights except for two
Blackout for
out' for this snapshot. that will deactivate the blackout.
this cue
GPO On Active
Enable the GPO trigger GPO Enabled

functionality of this cue. for this cue
GPO Virtual Pin Range Low Range High
Select a virtual pin as

the the GPO assign- 0 80
ment for this cue.
14.3.4 14.3.4: CUES > GPIO

MANUAL
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

0 100
Number
HiQNet On/Off
Enable HiQNet function-

ality for this Cue
4.3
14.3.4: CUES
> De
> Esser
GPIO

MANUAL
Vi3000 USER 14.4: SNAPSHOTS > SNAPHOT FILTERS
14.4: Snapshot Filtering

Global Filter, Snapshot ISO, Show ISO
Snapshot filtering 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 filtering: Global
Filtering (also called Isolation), and Snapshot Scope.
Global Filtering only affects recall and is controlled with the consoles [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 specific filter that is stored with each Cue,and con-
trols what data that Cues 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 specifically want to filter a snapshot.
14.4 14.4: SNAPSHOTS > SNAPHOT FILTERS

Vi3000 USER
MANUAL 4.3: INPUT
14.4.1: CHANNEL
SNAPSHOT > DYNAMICS
FILTER > SCOPE
14.4.1: Snapshot Scope
It can be very useful to make a Cue which, when it is recalled, only affects a specific 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 specific scope for the cue.
Note that Scope is actually a non-destructive filter stored with the cue - the full snapshot is always stored and can be
either restored or further limited by changing the cues 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.
Show/Hide
Scope
Show or Hide the scope

Scope defaults to include all desk parameters, so you
settings in the touch
can hide scope and ignore it if you do not wish to use it.
screen and VST areas.
Select All/None
Process blocks
Select or deselect ALL

process blocks to be
within the scope of this
cue.
4.3
14.4.1 14.4.1: SNAPSHOT
INPUT CHANNEL
FILTER> >De
SCOPE
Esser

MANUAL
Vi3000 USER 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.
14.4,1 14.4.1: SNAPSHOT FILTER > SCOPE

14.4.2: SNAPSHOT
MANUAL
Vi3000 USER 4.3: INPUT CHANNEL
FILTER > DYNAMICS
> GLOBAL FILTER
14.4.2: Global Filter - Snapshot & Show Isolation

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 filter; 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 filter (LOAD ISO WITH SHOW) can also be used to isolate aspects of the consoles set-up from entire
Show loads. So for example, if you have an engineer who brings a pre-configured show file to a shared console at a
festival, you can isolate the consoles output settings, which would normally be configured specifically for the venue,
and protect them from being over-written by the new Show file.
The Global Edit button puts the whole desk into Edit mode so you dont have to hold the [ISO] button.
Isolate [ISO]
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.
Select channels, groups
To isolate parts of a channel or buss you can use either the [ISO] button, or put the whole
of channels, and
desk into Global Edit mode.
parameter blocks, and
individual parameters
With an [ISO] button held, simultaneously touch the part of the channel strip that you want
to be part of the Global
to isolate, in the touch screen. A purple LED appears in the top corner of the block to
Filter.
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
With the Global Filter activated, 'ISO' selected channels Global Filter-
Activate Global Filter
and parameters will be isolated from snapshot recall. ing Enabled
Global Filter
Edit Mode Inactive Active
Activate Global Edit All desk parameters are available for adding to the Glob- Normal Oper- Mode ena-
mode. al Filter, without having to hold down an [ISO] button. ation bled
Load ISO With

Show Active
When set to YES the console ISO settings will be

Enable or disable
cleared and overwritten by loading a new Show file. Set Show Filter-
Global Filter for Show
this to NO to protect isolated sections of the console ing Enabled
loading.
from being overwritten by a new Show file.
4.3
14.4.2 14.4.2: SNAPSHOT
INPUT
FILTER
CHANNEL
> GLOBAL
> DeFILTER
Esser

Vi3000 USER MANUAL 15.0: TALKBACK & OSCILLATOR
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.
15.0 15.0: TALKBACK & OSCILLATOR

MANUAL
Vi3000 USER 4.3:
15.1 INPUT CHANNEL
TALKBACK & OSC >>CONTROLS
DYNAMICS
15.1: Talkback And Oscillator Controls
Talkback And
Oscillator Set-
up Active
Open and close the

Talkback and Oscil-
Open Setup
lator setup screen in
Screen
the master Vistonics
screen.
Talkback XLR
Connector
There is a switch for phantom power adjacent to the

The Talkback Mic input.
Talkback Mic connector if required.
Talkback / OSC
Level Control
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
Control of Talkback or
of the console. This is set by default to a mid-range
Oscillator level.
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
The 'INT' routed Output busses are selected via their Sends Talk-
Route the Talkback {TB} VST keys in the VST area of the master screen back signal to
signal to pre-selected after selecting the [TB ASSN] key (located to the right of pre-selected
output busses. the master screens VST area). Switch between the two Aux/Group/
sets of 16 busses with the [PAGE A] and [PAGE B] keys. Matrix Busses
4.3
15.1 15.1 TALKBACK
INPUT CHANNEL
& OSC > CONTROLS
> De Esser

MANUAL
Vi3000 USER 15.1 TALKBACK & OSC > CONTROLS
Talkback to
External Active
Route the TB signal to

the TB OUT external
balanced analogue line
Change the EXT TB assignment via the Talkback/Oscil- Routing
output on the rear of
lator SETUP screen. Active
the console (default), or
to any other available
output.
Talkback Pre-
sets 1-3 Active
Press-to-talk (momen-
tary and latching), Select the output routing for the Talkback presets via the Routing
user-programmable Talkback/Oscillator SETUP screen. Active
Talkback switches.
15.1 15.1 TALKBACK & OSC > CONTROLS

MANUAL
Vi3000 USER 4.3:
15.2 INPUT CHANNEL
TALKBACK & OSC >>OSC
DYNAMICS
SETUP
15.2: Oscillator Setup & Use
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.
Pink Noise
Set the oscillator wave-

form to pink noise.
White Noise

form to white noise.
Sine Wave

form to sine.
4.3
15.2 15.2 TALKBACK
INPUT CHANNEL
& OSC > OSC
> DeSETUP
Esser

MANUAL
Vi3000 USER 15.2 TALKBACK & OSC > OSC SETUP
Oscillator To
Bus
Feed the Oscillator sig-

OSC To Bus assignments are selected in the Bus Assign
nal to the preconfigured
page via the Talkback/Oscillator SETUP screen.
Busses.
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
20Hz 20kHz
in the range 20Hz to
20kHz.
Oscillator Bus
Assignment In Active Active
Used in conjunction with Opens an output assignment page where you can
Close assign- Open assign-
the Oscillator to Bus select any of the 24 group busses or the Mix L, R, and C
ment screen ment screen
touchscreen switch. outputs.
Oscillator On In Active Active
Activate the console's

Off On
oscillator.
Oscillator Gain Range Low Range High
Adjust the oscillator

-infinity +18dB
output level
Oscillator
Output In Active Active
Assign the oscillator

Opens an output assignment page with all available Close patch Open patch
to individual physical
physical outputs available. screen screen
outputs.
15.2 15.2 TALKBACK & OSC > OSC SETUP

MANUAL
Vi3000 USER 4.3: TALKBACK
15.3 INPUT CHANNEL
& OSC>>DYNAMICS
TB SETUP
15.3: Talkback Setup & Use
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 configuration options are detailed below.
Talkback
Source Active Inactive
If (NONE) is selected the consoles TB mic XLR is auto-

Close source Open source
Select the Talkback matically selected. The button opens up an assignment
selection selection
source / input. selection page in the master touch screen area where
screen screen
you can select any available microphone input.
Talkback Exter-
nal Output Active Inactive
Assign the Talkback

output directly to indi- Opens an output assignment page with all available Close patch- Open patch-
vidual physical console physical outputs. ing screen ing screen
outputs.
Talkback Pre-
set Assignment Active Inactive
Assign a selection of
Close assign- Open assign-
output busses to the
ment screen ment screen
selected Talback preset
4.3
15.3 15.3 TALKBACK
INPUT CHANNEL
& OSC > >TB
DeSETUP
Esser

MANUAL
Vi3000 USER 15.4 TALKBACK & OSC > TB RETURN
15.4: Talkback Return Setup & Use
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.
Talkback
Return ON Inactive Active
Enable the Talkback

Disabled Enabled
return.
Talkback
Return Gain Range Low Range High
Adjust the Gain of the

-90dB +12dB
talkback return input.
Talkback
Return
Assignment Inactive Active
Assign the Talkback Opens an input assignment page with all available Open assign- Close assign-
Return input. physical inputs. ment screen ment screen
15.4 15.3 TALKBACK & OSC > TB RETURN SETUP

Vi3000 USER MANUAL 16.0: MAIN MENU
MAIN MENU & SETTINGS
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...
Menu Button Active
The main menu will appear on the master bay touch

Main Menu
Access the main menu. screen. Navigate the menu by selecting the various tabs.
Active
Some tabs map additional controls to the VST area.
16.0 16.0: MAIN MENU

CHANNEL
MENU>>DYNAMICS
MAIN TAB
Menu: Main
This menu tab is displayed by default whenever the [MENU] button is pressed.
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.
4.3
16.1 INPUT
16.1:
CHANNEL
MENU >>MAIN
De Esser
TAB

Vi3000 USER MANUAL 16.2 MENU > SHOWS
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 consoles 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 file 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.
16.2 16.2 MENU > SHOWS

Vi3000 USER MANUAL 4.3: INPUT CHANNEL > DYNAMICS
16.2 MENU > SHOWS
Load Show
Load the selected show Shows can only be loaded from the internal hard drive,
from the hard drive. they must be imported from the external storage first.
NAME
Rename the selected

Opens up the text entry screen.
Show file.
Delete Show
Delete the selected An additional screen will appear asking you to confirm
Show file. the deletion or cancel it.
Save
Update the loaded

A confirmation dialogue will appear.
Show file.
Save As
Save all current show

You will be prompted to input a new show name via the
parameters as a new
on-screen keyboard or an external USB keyboard.
Show.
Show Defaults
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
Display the default
in italic text. They cannot be deleted with the (DEL) key,
Shows in the Show file
nor renamed. If you want to base your Show on one of
list.
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.
4.3
16.2 INPUT 16.2
CHANNEL
MENU>>De
SHOWS
Esser

Vi3000 USER MANUAL 16.2 MENU > SHOWS
Scroll Local
Shows
Scroll through the local

(internal) show file list.
USB Import /
Export
Pressing the right-facing arrow will export the current-
Exporting A Show TO, ly-selected Show to an installed USB data storage
or import a show FROM device. Pressing the left facing arrow will import the
A USB Data Storage selected USB-stored show to the console's internal
Device. 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 file list.
Export Excep-
tion Files
Exports log files that are
generated if the console
The files are saved in a folder called Exceptions on the
software restarts unex-
USB stick, and should be zipped and emailed to Sound-
pectedly. For use under
craft support when requested.
instruction of Soundcraft
service personnel.
16.2 16.2 MENU > SHOWS

Vi3000 USER MANUAL 4.3:16.2.1
INPUTMENU
CHANNEL
> SHOWS
> DYNAMICS
> DATA
Menu: Shows - Show File Recorded 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 Snapshots 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 Snapshots 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 Config States: Bus Formats; Bus Types and Bus Labels.
Channel Pairing States: Stereo Channel pairings.
HiQnet Setup.
MIDI Configuration 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.
4.3
16.2.1 16.2.1
INPUT
MENU
CHANNEL
> SHOWS
> De
> Esser
DATA

Vi3000 USER MANUAL 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 Defined 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.
16.2.1 16.2.1 MENU > SHOWS > DATA

16.3: MENU
> DYNAMICS
> GPIO
Menu: GPIO
You can configure 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 fitted 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 fitted, 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 configurations across several
columns; these are set in the VST section of the master bay Vistonics.
4.3
16.3 INPUT CHANNEL
16.3: MENU
> De> Esser
GPIO

Vi3000 USER MANUAL 16.3: MENU > GPIO
Console GPIO
Select
No function unless optional

Selects the GPIO in the control surface (16
GPIO option card is fitted to ei-
GPIO channels).
ther of the two expansion slots.
Stagebox GPIO
Select
Selects the GPIO in the

(no function unless one or more Stageboxes attached)
Stage Box (8 GPIO).
GPIO Up / Down
List
Scroll though the GPI The currently-selected input and output channels are
and GPO lists outlined in yellow.
GPI On / off
Enable and disable GPI

Individual setting for each Pin.
functionality
Function Select
Depending on the function selection, the {Parameter}
field may or may not be available. For example, the
Channel Mute (CH MUTE) function requires a channel
assignment - set using the {parameter} field; the NEXT
CUE function does not require any additional parameter
Select the function to be
assigned to the GPI pin.
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
Certain GPIO functions require and additional parameter.

Used to assign addition-
Examples are channel number, virtual GPIO pin number,
al values to functions
and so on.
16.3 16.3: MENU > GPIO

16.3: MENU > GPIO
Trigger Edge
Select
Choose the triggered Choose either Rising, Falling, or Both. If you choose
edge for this GPI pin. 'Both' the {Polarity} field will become available.
Trigger Polarity
Select
The encoder changes the polarity between positive and

Set the Polarity of the
negative. This field is only available if the {EDGE} field is
input.
set to BOTH.
GPO On / off
Enable and disable

Individual setting for each Pin.
GPO functionality
GPO Function
Depending on the function selection, the {Parameter}
field may or may not be available. For example, the
Fader Start (FDR START) function requires a channel
assignment - set this using the {Parameter} field; the
Select the function to
Talkback Output (TB OUTPUT) function does not require
be assigned to the GPO
any additional parameter.
pin.
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-

Examples include channel number, virtual GPIO pin
al values to functions
number, and so on.
where required.
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 field means no pulse is generat-
Set the Relay Pulse ed - the relay contacts stay in their new position). It is
Time. suggested that a pulse time is set only when the EDGE
field is set to RISING or FALLING. It is also suggested
that no pulse time is set when the EDGE field is set to
BOTH.
4.3
16.3 INPUT CHANNEL
16.3: MENU
> De> Esser
GPIO

Vi3000 USER MANUAL 16.3: MENU > GPIO
Edge Select
Choose the triggered Choose either Rising, Falling, or Both. If you choose
edge for this GPO pin. 'Both' the {Polarity} field will become available.
Polarity Select
The encoder changes the polarity between positive and

Set the Polarity of the
negative. This field is only available if the {EDGE} field is
output.
set to BOTH.
16.3 16.3: MENU > GPIO

16.4: MENU
> DYNAMICS
> SYNC
Menu: SYNC
The settings in this tab determine the digital audio clock configuration for the console
Internal Clock
Internal sync
selected. (NB: not The console runs at 48kHz internal clock only.
a control)
External Clock
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
External clock
Master.
source selected
A green LED adjacent to the Wordclock In BNC socket indi-
(NB: not a control)
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.
4.3
16.4 INPUT CHANNEL
16.4: MENU
> De
> SYNC
Esser

Vi3000 USER MANUAL 16.4: MENU > SYNC
Dante Sync:
Master Active
When Master button is selected, console is forced to switch

Switch console Dante Master
to EXT sync, and console then slaves to Dante network clock
sync to Dante mode
(requires correct setting of network sync within external Dante
Master mode. activated.
Contoller software).
Dante Sync:
Slave Active
When Slave button is selected, console runs on internal

Switch console Dante Slave
clock and the Dante network is synced to the console internal
sync to Dante mode
clock (requires correct setting of network sync within external
Slave mode. activated.
Dante Controller software).
16.4 16.4: MENU > SYNC

Vi3000 USER MANUAL 4.3: INPUT 16.5:
CHANNEL
MENU
>>DYNAMICS
TIELINES
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.
Page Select
Switch between three pages of 24 possible Tie

Line patches.
4.3
16.5 INPUT
16.5:
CHANNEL
MENU >>TIELINES
De Esser

Vi3000 USER MANUAL 16.5: MENU > TIELINES
Tieline Input
Patch Active
The Red INPUT buttons open

an input assign page in the
Input Patch
Assign a physical input to this Tie Line. main touch screen area where
Screen
you can choose any available
console input.
Tieline Output
Patch Active
The Red OUT buttons open

an output assign page in the
Output Patch
Assign a physical output to this Tie Line. main touch screen area wher
Screen
eyou can choose any available
console output.
Tieline Label Active
The Tie Line Label buttons open

up a text entry screen in the Text Entry
Define a custom label for the Tie Line.
main touch screen. You can also Screen
use an external USB keyboard.
16.5 16.5: MENU > TIELINES

16.6:> MENU
DYNAMICS
> FX
Menu: FX
This is where you configure the four internal FX processors. Please see the Effects chapter of this reference for more
specific information.
Lexicon FX
Engine 'n' Active
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
Select a Lexicon FX processor to control bus processing strip. FX Edit
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.
4.3
16.6 INPUT CHANNEL
16.6: MENU
> De Esser
> FX

Vi3000 USER MANUAL 16.7: MENU > MIDI
MENU: MIDI
General MIDI setup for the console
List RX
Channels
The Device List allows you to
specify friendly names for each
MIDI channel or Device ID, to
Display the MIDI input channels in the device list. 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
help with identifying a source or
list.
16.7 16.7: MENU > MIDI

16.7: MENU
> DYNAMICS
> MIDI
List TX Devices
Display the MIDI output Device IDs in the device
help with identifying a source or
list.
MIDI Device
Name
Allows the friendly name to

MIDI Device Name display 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
Disable MIDI Enable MIDI

Enable / Disable All MIDI input activity.
In In
Global MIDI
Input Channel
Set the Global MIDI input channel
Global MIDI
Input Device ID
Set the Global MIDI input Device ID
4.3
16.7 INPUT CHANNEL
16.7: MENU
> De>Esser
MIDI

Vi3000 USER MANUAL 16.7: MENU > MIDI
MIDI Timecode
Enable Inactive Active
Timecode Timecode
Enable MIDI Timecode Input
Disabled Enabled
MIDI Timecode
Frame Rate
When enabled, the Show name

Sets desired frame rate in FPS for outgoing displayed in the Master Bay
timecode events and incoming timecode. 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
Disable MIDI Enable MIDI

Enable / Disable All MIDI output activity.
Out Out
Global MIDI
Output Channel
Set the Global MIDI output channel
16.7 16.7: MENU > MIDI

16.8: MENU
> DYNAMICS
> LOG
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 sections 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.
Error Expand/
Compact
Expanded error messages wrap the text so the whole

Expand or compact the
error message can be viewed, at the expense or the
selected error message.
number of errors viewable at the same time.
4.3
16.8 INPUT CHANNEL
16.8: MENU
> De>Esser
LOG

Vi3000 USER MANUAL 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.
16.8 16.8: MENU > LOG

16.9:
CHANNEL
MENU >> DYNAMICS
SETTINGS
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.
Set Date And

Time Active
Map console date and

time settings controls to
Date And
the VST section of the
Time settings
Master Bay Vistonics
panel.
Meter Peak
Hold Set Range Low Range High
Adjust the console me-

tering Peak Hold time 0 Secs 12 Secs
from 0 to 12 Seconds.
4.3
16.9 INPUT
16.9:CHANNEL
MENU > >
SETTINGS
De Esser

Vi3000 USER MANUAL 16.9: MENU > SETTINGS
Set Meter In
Point
There are four choices for the input meter tap, from
Determine the metering left to right: After the analogue mic gain (before digital
point for the input chan- trim and filters); after the digital trim and filters (before
nel level meters. 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 Large 30-fader mode for fast access on multiple

faders, at the expense of access to the input faders, or
Choose between Large
choose Small (eight output faders) mode when access
and Small Graphic EQ Small GEQ Large GEQ
to input faders must be retained at all times. Frequency
control modes.
bands can be scrolled in banks of four or eight bands,
using the Output Fader page buttons.
Set Delay Units
Change the units used

in input, output, and You can choose between milliseconds, metres, or feet
monitoring delay adjust- and inches.
ments.
EQ bandwith
units Range Low Range High
Selected either Octaves or Q-factor (defined as the ratio

Choose the the unit
of frequency to bandwidth). The direction of the control is
for bandwidth controls Octave Band-
reversed between the two settings: In Q mode, clockwise Q-Factor
in the EQ sections width
narrows bandwidth, in Octaves mode, clockwise widens
throughout the console
bandwidth.
Enable NEXT
and LAST Inactive Active
Enable the [NEXT] and [NEXT]/ [NEXT]/

[LAST] cue list naviga- [LAST] at [LAST] at
tion buttons nearest the front of desk front of desk
operator. disabled enabled
DANTE / MADI
Select Range Low Range High
Switch MADI/Dante
Dante MADI
input between MADI See hardware reference 4.2 for operational details.
selected selected
and Dante sources.
16.9 16.9: MENU > SETTINGS

CHANNEL
MENU
> DYNAMICS
> SYSTEM
MENU: SYSTEM
System Monitoring and HiQnet/VM Setup
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.
4.3
16.10 INPUT
16.10:
CHANNEL
MENU > De
SYSTEM
Esser

Vi3000 USER MANUAL 16.10: MENU > SYSTEM
Desk
Information
The numerical data displayed for each bay gives the

Display the current revision number of the firmware currently installed in
status of the desks 4 each bay. This information may be needed by Sound-
bays. craft service personnel if technical or service support is
requested.
StageBox
Information
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
Display a graphical function, and a red label indicates an output function.
representation, and the
current status, of the If the card configuration of the Stagebox is changed
cards in the Stage Box. (for example when AES input or output cards are fitted
in place of the analogue cards), the card labels will be
automatically updated with the new card types if the
Reconfig button on the Stagebox front panel has been
pressed after changing the cards.
VM / HiQnet
Set-up
VM stands for Vistonics Microphone Monitoring. It
takes advantage of Harmans HiQnet control network to
allow a level of integration between a HiQnet-enabled
AKG Wireless Microphone system, and a Soundcraft Vi
Series console.
Enter the VM setup
This section is also used to set up a network IP address
screen
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/VM reference chapter 18 for
more detail.
16.10 16.10: MENU > SYSTEM

Vi3000 USER MANUAL 17.0: FX
Lexicon 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 consoles Vistonics II environment - editable either from the relevant channels 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.
17.0 17.0: FX

17.0: FX
4.3
17.0 INPUT CHANNEL > De
17.0:
Esser
FX

Vi3000 USER MANUAL 17.1: FX > USING THE FX
Using The Lexicon FX Processors
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
channels 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 consoles F-Keys can be assigned to the tap tempo function (see below for
details).
As An Aux Send
To patch an FX unit as an Aux send destination, you must first 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 channels 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.
17.1 17.1: FX > USING THE FX

17.1:
CHANNEL
FX > USING
> DYNAMICS
THE FX
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
To patch an input channel as an FX return, select that inputs 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.
4.3
17.1 INPUT
17.1:CHANNEL
FX > USING
> De
THE
Esser
FX

Vi3000 USER MANUAL 17.1: FX > USING THE FX
As An Insert
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 channels
touch screen channel strip.
17.1 17.1: FX > USING THE FX

Vi3000 USER MANUAL 17.1.1: 4.3:
FX >INPUT
USINGCHANNEL
THE FX >>TAP
DYNAMICS
TEMPO
Tap Tempo Functionality
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 Vi3000s internal
default shows. However if you are importing a show from a Vi 4 or 6 console, only the first 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.
4.3
17.1.1 17.1.1: FX > USING
INPUTTHE
CHANNEL
FX > TAP
> De
TEMPO
Esser

Vi3000 USER MANUAL 17.2: FX > ALGORITHMS
FX Algorithms and Parameters
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.
17.2 17.2: FX > ALGORITHMS

4.3:FX
INPUT
> ALGORITHMS
CHANNEL >>DYNAMICS
REVERBS
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 dont just stop. Some of the sound is absorbed
by the object, but most of the sound is reflected 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 specifically 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.
4.3
17.2.1 17.2.1: FX >
INPUT
ALGORITHMS
CHANNEL>>REVERBS
De Esser

Vi3000 USER MANUAL 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 crystalsone acting as a speaker and the other acting as a micro-
phoneconnected 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
reflections heard first that then become quieter over time, the Reverse reverb has the softest reflections (essentially
the tail of the reverb) heard first, 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 crystalsone acting as a speaker and the other acting as a micro-
phoneconnected by a simple set of springs. The characteristic boing of a spring is an important component of many
classic rock and rockabilly guitar sounds.
17.2.1 17.2.1: FX > ALGORITHMS > REVERBS

4.3:FX
INPUT
> ALGORITHMS
CHANNEL >>DYNAMICS
REVERBS
Reverb Parameters
Pre Delay Range Low Range High
This control is not intended to precisely mimic the time

delays in natural spaces, as the build-up of reverberation
Adjust time delay is gradual, and the initial time gap is usually relatively
between the source short. For the most natural effect, the Pre Delay values
0mS 100 / 200mS
signal and the onset of should be set in the range of 10-25 milliseconds. How-
reverberation. 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.
Reverb Time
Higher settings increase reverberation times which are

Adjust the amount of usually associated with larger acoustical environments,
Dependant Dependant on
time the reverb can be but can decrease intelligibility. Lower settings shorten re-
on algorithm. algorithm.
heard. verb times and should be used when a smaller apparent
space or a more subtle effect is desired.
Size
The Size control changes reverb sound from very large
Build-up rate of diffusion to very small. Generally, set this control to the approx-
after the initial period imate size of the acoustic space being created, before Dependant Dependant on
(which is controlled by adjusting anything else. The size in meters is roughly on algorithm. algorithm.
Diffusion). equal to the longest dimension of the space. Audio is
temporarily muted when Size is changed.
Diffusion
High settings of Diffusion result in high initial echo

density, and low settings cause low initial density. In a
Initial echo density. real-world situation, irregular walls cause high diffusion,
while large flat walls cause low diffusion. For drums and
percussion, try using higher Diffusion settings.
Shape
With Shape all the way down, reverberation builds
explosively, and decays quickly. As Shape is advanced,
Adjust the 'contour' reverberation builds up more slowly and sustains for the
of the reverberation time set by Spread. With Shape in the middle, the build-
envelope. 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).
4.3
17.2.1 17.2.1: FX >
INPUT
ALGORITHMS
CHANNEL>>REVERBS
De Esser

Vi3000 USER MANUAL 17.2.1: FX > ALGORITHMS > REVERBS
Spread
Low Spread settings result in a rapid onset of reverber-

Adjust reverb onset and ation at the beginning of the envelope, with little or no Dependant Dependant on
sustain. sustain. Higher settings spread out both the build-up and on algorithm. algorithm.
sustain.
Reverb High
Cut Range Low Range High
It does not attenuate the reflections. High frequencies

Set the frequency of a
are often rolled off with this parameter, resulting in more
6dB/octave low-pass
natural-sounding reverberation. Setting a low frequency 1kHz 20kHz
filter on the reverberat-
for this parameter can actually shorten the reverb time,
ed signal.
as it damps the audio as it recirculates.
High Cut Range Low Range High
Adjust the amount of Higher frequency settings increase high frequency

high frequency content response, creating brighter reverbs; lower frequency
1kHz 20kHz
in the reverberation settings create darker reverbs with more bass frequency
tails. emphasis.
Bass Boost
This control should be set at least two octaves higher

than the low frequency you want to boost. For example,
Set the frequency at
to boost a signal at 100Hz, set Bass Boost Frequency
which the transition from
to 400Hz. (This setting works well for classical music.) 100Hz 2kHz
Mid Rt to Low Rt takes
Crossover works best around 400Hz for boosting low
place
frequencies, and around 1.5 kHz for cutting low frequen-
cies.
Bass Boost
Ratio Range Low Range High
Boost or cut frequencies

The amount of boost or cut required is highly dependent
below the Bass Boost 0.2 4
on the material being processed.
Frequency.
Early Reflec-
tion Time Range Low Range High
Adjust the amount of

time before reverb early 1mS 150mS
reflections occur.
17.2.1 17.2.1: FX > ALGORITHMS > REVERBS

4.3:FX
INPUT
> ALGORITHMS
CHANNEL >>DYNAMICS
REVERBS
Early
Reflections
Level
Adjust the level of early

reflections within the 0 99
reverb.
Feedback Delay Range Low Range High
Change the resonant

frequencies of Plate 1mS 150mS
reverb.
Feedback Level Range Low Range High
Adjust a Plate reverbs

presence and promi- -99 +99
nence.
Boing
Increase or decrease
the 'spring rattle' in a This is a physical characteristic of spring tank reverbs. 0 99
spring reverb.
4.3
17.2.1 17.2.1: FX >
INPUT
ALGORITHMS
CHANNEL>>REVERBS
De Esser

Vi3000 USER MANUAL 17.2.2: FX > ALGORITHMS > DELAYS
DELAYS
Delays repeat a sound a short time after it first 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.
17.2.2 17.2.2: FX > ALGORITHMS > DELAYS

4.3: INPUT
FX > ALGORITHMS
CHANNEL > DYNAMICS
> 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 flutter combined with a significant 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 flipping 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.
Delay Parameters
Tempo Range Low Range High
This time is expressed as tempo in BPM (beats per

Enter the 'Tempo' Time. minute). Tempo works in conjunction with Delay Time to Infinity 24 BPM
set the actual delay time that is heard.
Tap Tempo
Repeatedly tap the {TAP] button to automatically set the

Enter the Tempo time by
delay tempo. The console 'F' keys 1-4 are assigned to
tapping.
the delay tap tempo.
Delay Time
At the middle of its range, delay repeats are synchro-

Controls the length of
nous with the Tempo button; lower values create faster Dependant Dependant on
the delay time relative
repeats, while higher values increase the time between on algorithm algorithm
to Tempo.
repeats.
Delay Type Range Low Range High
Choose between Tape

2-Tap Delay algorithm only. DIGITAL TAPE
and Digital delay types.
4.3
17.2.2 17.2.2: FX
INPUT
> ALGORITHMS
CHANNEL >>De
DELAYS
Esser

Vi3000 USER MANUAL 17.2.2: FX > ALGORITHMS > DELAYS
Tap Ratio Range Low Range High
Controls the Tap ratio Specific to the Pong Delay effect, this controls the delay
of left and right outputs time offset between left and right taps, expressed as a
1:12 12:1
relative to the Delay ratio of left to right time difference. In the centre the taps
time. have the same time (1:1).
Tap Swap Range Low Range High
Swaps the delay time

Specific to the Pong Delay effect - reverses the offset set
tap offset set by the Tap L>R R>L
by the Tap Ratio control.
Ratio.
Delay Feedback
This creates a series of delay repeats, each slightly
attenuated until they become inaudible. Higher settings
Controls the number
create more repeats; lower settings reduce the number
of delay repeats by
of repeats. When this knob is turned fully clockwise, it
feeding the delay output
engages Repeat Hold delay repeats play back in an
signal back into the
infinite loop, but no further input signal is introduced into
delay input.
the delay effect. Repeat Hold is available only on Studio,
Mono and Pong Delay.
Low Cut Filter

Frequencies below this

Off > 20Hz 20kHz
level are attenuated.
High Cut Filter

Frequency
Frequencies above this

20Hz 20kHz<Off
level are attenuated.
Smear
Available only for Tape and Reverse Delays, this param-

eter controls the amount of smear, or signal degrada-
Ducking attenuation
tion and frequency loss. The higher the setting, the more 0 99
amount.
each delay repeat loses intelligibility compared to the
original signal.
17.2.2 17.2.2: FX > ALGORITHMS > DELAYS

4.3: INPUT
FX > ALGORITHMS
CHANNEL > DYNAMICS
> DELAYS
Ducker
Threshold Range Low Range High
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
Set the input signal
with the original signal. For example whilst a vocalist is
level at which ducking -70dB 0dB
singing, the level of delay is kept down, but in the pauses
occurs.
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.
Ducker Level Range Low Range High
Ducker Level sets the amount of attenuation once the

Ducking attenuation signal has exceeded the threshold. 0dB is no ducking,
-18dB 0dB
amount. 18dB is the maximum amount of ducking to the delayed
signal.
TAP 1 & 2
Tap delay time relative

2-Tap Delay only. Sets the percentage of the indicated
to displayed delay time 0 100%
delay time that is used for each tap.
value.
Tap Level
Adjusts the output level

0 99
of Tap 1 and Tap 2.
Tap Pan Range Low Range High
Adjust the pan positions

in the stereo field of Tap 99L 99R
1 and Tap 2.
Modulation
Depth
Control the intensity of Lower settings produce a more subtle chorus effect,
modulation, or depth in while higher values give a more lush chorusing of the 0 99
the Modulated Delay. delay repeats.
4.3
17.2.2 17.2.2: FX
INPUT
> ALGORITHMS
CHANNEL >>De
DELAYS
Esser

Vi3000 USER MANUAL 17.2.3: FX > ALGORITHMS > MISC
Miscellaneous FX
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 flange of the tape reels to slow down first 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 filter 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 flat of the original at a determined rate.
Phase controls whether the pitch of both channels is modulated together, or in an opposite direction.
17.2.3 17.2.3: FX > ALGORITHMS > MISC

17.2.3:
INPUT
FX CHANNEL
> ALGORITHMS
> DYNAMICS
> 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 difficult 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.
Misc FX Parameters
Speed Range Low Range High
Sets the speed at which

the modulated effect 0.05Hz 16Hz
cycles.
LFO Depth
Scales the intensity of This control affects the output of the LFO only. It has no
0 99
the effect. effect on the outputs of the individual waveforms.
4.3
17.2.3 17.2.3:INPUT
FX > ALGORITHMS
CHANNEL > De> Esser
MISC

Number Of
Voices
Controls the number

of additional Chorus Hgher amounts add more richness to the Chorus effect. 0 99
voices.
Regeneration Range Low Range High
Controls the amount of

modulated signal being
Higher amounts add more resonance to the signal. -99 +99
fed back into the input,
creating feedback.
Diffusion
Creates a time-smooth-
Diffusion can be a subtle effect to add a little warmth to
ing effect similar to 0 99
the chorus.
diffusion in reverb.
Pre Delay Range Low Range High
Determines the amount

of offset between the Lower values create a tighter effect, higher values result
0mS 20mS
two signals that create in a more extreme whooshing sound.
the flange effect.
LFO Waveform
Selects the wave

pattern used by the Select from sine wave, triangle wave, and random.
modulated effect.
Phase Range Low Range High
Controls whether am-

plitude or depth change
occurs in both left and
right outputs simulta- 0 Degrees 180 Degrees
neously or alternates
between left and right
outputs.

17.2.3:
INPUT
FX CHANNEL
> ALGORITHMS
> DYNAMICS
> MISC
Phase Stages
Selects between a 4-,

8-, or 12-state phase
shifter.
Horn Min
Rotary effect only: Min-

The speed limits are used when the speed parameter is
imum speed of the HF 0 8
changed from Slow to Fast.
rotary horn.
Horn Max Range Low Range High
Rotary effect only:

The speed limits are used when the speed parameter is
maximum speed of the 0.05 8
changed from Slow to Fast
HF rotary horn
Stereo Spread
Increases or decreases
the stereo imaging of 0 99
the Rotary effect.
Overdrive Gain
Adjust overdrive gain

to the preamp section
0 99
of the rotary speaker
effect.
Minimum Rotor
Speed
Sets the minimum

Rotary effect only: The speed limits are used when the
speed at which the LF 0 8
speed parameter is changed from Slow to Fast
Speaker will rotate.
4.3
17.2.3 17.2.3:INPUT
FX > ALGORITHMS
CHANNEL > De> Esser
MISC

Maximum Rotor
Speed Range Low Range High
Sets the maximum

Rotary effect only: The speed limits are used when the
speed at which the LF 0.05 8
speed parameter is changed from Slow to Fast
speaker will rotate.
Doppler Effect
The Doppler effect is a rise and fall in pitch experienced

Increases or decreases by an observer when a sound source is moving towards
0 99
the Doppler pitch effect. or away from them, due to a compressed or expanded
wavefront.
Pitch Shift Range Low Range High
Determines the amount

of pitch shift or detune
Works best with individual notes. -24 +24
shift from the original
signal source.
Shift Delay Range Low Range High
Sets the delay time

before the pitch shift or
detune effect is heard 0mS 1 Sec
in the Pitch Shift and
Detune effects.
Feedback
Adjusts how much of

the shifted signal is sent
back through the delay For creating cascading arpeggio-type effects. 0 99
line in Pitch Shift and
Detune.
Pan Range Low Range High
Sets the pan position

in the stereo field for
Allows the stereo width to be increased by panning ver-
each tap in the 2-Tap
sions of the original signal that have been shifted slightly 99L 99R
Delay or each channel
up and down, to left and right channels respectively.
of the pitch shift/detune
effects.

Vi3000 USER MANUAL 18.0: VM
VM - Wireless System Monitoring
VM 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 Harmans
HiQnet network control protocol and brings many benefits including streamlining of the workflow 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 VM status are shown in the input channels 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 amplifiers, 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 configuration. 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 consoles message log for example thermal overload messages generated by Crown amplifiers. 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.
18.0 18.0: VM

18.0: VM
HiQnet Connec-
tor
The HiQnet port is an

Ethernet connection on
The port is capable of driving standard Ethernet distanc-
the rear of the control
es of up to 100m.
surface, adjacent to the
rear USB sockets.
Menu Button
The [MENU] button

opens the console's The console's HiQnet configuration can be accessed by
main menu system in pressing the main [MENU] button then the SYSTEM tab
the Master Bay touch- and HIQNET layer.
screen area.
4.3
18.0 INPUT CHANNEL >18.0:
De Esser
VM

Vi3000 USER MANUAL 18.1: VM > HIQNET CONFIGURATION
HiQnet Network 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.
18.1 18.1: VM > HIQNET CONFIGURATION

VMINPUT
> HIQNET
CHANNEL
CONFIGURATION
> DYNAMICS
IP Configura-
tion Range Low Range High
If you are using a DHCP server to automatically con-

Select either Dynamic figure the IP setup, wait for several seconds until an IP
(DHCP) or Manual address appears in the IP ADDRESS Vistonics control DHCP Manual
(MAN) IP conifguration. fields. You will also see it on the far left of the HiQnet
page.
IP Address
Entry
For use with Manual (MAN) IP Configuration. Use the
row of VST encoders to dial-in the required IP address
for the console.
Set IP address for the The available ranges of valid IP addresses are 10.0.0.0
console. - 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 conflicts
with other parts of the Vi system they will be greyed out
and not available for selection.
Subnet Mask
Entry
For use with Manual (MAN) IP Configuration. Use the

Set the subnet mask.
row of VST encoders to dial-in the subnet mask.
HiQnet node
address entry Active
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 conflicts with other HPro
Set the console's devices. You can use Audio Architect to find out what the
Activate
HiQnet Node Address node addresses of other equipment are.
keyboard
using the keyboard edi-
entry screen.
tor on the touchscreen. 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.
HiQnet On Inactive Active
Once the IP address is set and the HiQnet node address

has been confirmed 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
Enable HiQnet func- HiQnet HiQnet
cause all the Vistonics controls in the section to change
tionality. disabled Enabled
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.
4.3
18.1 18.1: VM INPUT
> HIQNET
CHANNEL
CONFIGURATION
> De Esser

Vi3000 USER MANUAL 18.1.1: VM > DEVICE LIST
VM 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
18.1.1 18.1.1: VM > DEVICE LIST

18.1.1:
CHANNEL
VM > DEVICE
> DYNAMICS
LIST
console to know on which channel strip to display the VM monitoring information, it is necessary to associate each of
the microphone devices with a physical connector, which will correspond to the connector that the microphones 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 flash, allowing it to be more easily identified among a rack of others.
MAP Devices
(Scroll List)
Hint: To avoid opening and closing the Audio Patch page,
the MAP DEVICES encoder can still be used to scroll
Scroll through the list of through the Device List even whilst the Audio Patch page
available VM devices. 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 Pressing (LOC) will cause the front panel display of the
function on the selected chosen receiver to flash, allowing it to be more easily
AKG receiver. identified among a rack of others.
Patch Devices Active
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,
Activate the VM micro- Patching
whereas connectors that are already associated with
phone patching screen. Screen Active
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.
4.3
18.1.1 INPUT
18.1.1:CHANNEL
VM > DEVICE
> De Esser
LIST

Vi3000 USER MANUAL 18.2: VM > STATUS DISPLAYS
Status Displays
The console displays VM 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 channels input block has been selected.
18.2 18.2: VM > STATUS DISPLAYS

Vi3000 USER MANUAL 18.2.1: VM
4.3:INPUT
> STATUS
CHANNEL
> CHANNEL
> DYNAMICS
STRIP
Channel Strip Status (Touch Screen Input Block)
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 VM microphones via icons for each of the monitoring elements.
Microphone
Muted
Shows red MUTE icon if the AKG mic is switched to

Shows microphone
muted state. When unmuted, this indicator icon disap-
muted state.
pears.
Microphone
clipping
A red C is displayed momentarily if the audio within the

Clipping indication
wireless mic audio path reaches full scale.
4.3
18.2.1 18.2.1: VM > INPUT
STATUS
CHANNEL
> CHANNEL
> DeSTRIP
Esser

Vi3000 USER MANUAL 18.2.1: VM > STATUS > CHANNEL STRIP
RF Strength
A red or green RF icon is displayed to indicate the
health of the AKG RF level. A green RF indicator is dis-
Show the RF (Radio played when the signal strength at the receiver is strong
Frequency) status of enough to enable audio transmission. A red RF indicator
the connected wireless is displayed when the signal strength is too low for audio
microphone. 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
Red segments 0-1 indicate one hour or less remaining.
The Amber segment (segment 2) indicates 25 percent of
Seven-segment battery life remaining. The Green segments (segments
transmitter battery level 3-7) indicate 35-100 percent of battery life remaining.
indication. 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
The system is able to differentiate between a network

error/disconnection and out of range RF or a switched-off
Indicates a Network
transmitter. In the case of a network error, the AKG ele-
error.
ments only within the input strip overview on all channels
will change to a greyed-out condition.
18.2.1 18.2.1: VM > STATUS > CHANNEL STRIP

18.2.2:CHANNEL
VM > STATUS
> DYNAMICS
> VST
VM VST Section Information
To see more detailed information about the AKG Microphones, the Input section of the channel strip can be zoomed
by touching the Input touch field at the top of the strip. Three special Vistonics fields 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.
4.3
18.2.2 18.2.2:
INPUTVMCHANNEL
> STATUS
> De>Esser
VST

Vi3000 USER MANUAL 18.2.2: VM > STATUS > VST
Gain Display
The display of internal Gain of the AKG microphone
differs according to the type of microphone system being
Internal gain of the
monitored. It cannot be controlled from the console. For
connected AKG micro-
WMS4500 systems the indicator displays the user-ad-
phone.
justable audio gain. For DMS700 systems the indicator
shows the output trim level of the receiver.
Locate
Activate the Locate Pressing this will cause the front panel display of the
function on the selected chosen receiver to flash, allowing it to be more easily
AKG receiver. identified among a rack of others.
RF Strength
Radio Frequency signal

Shows signal level in bargraph and dB readout.
strength.
Battery Level
The remaining battery life numerical info in hours is only

Remaining battery life
a guide, and depends on the type of cells used. The bat-
as icon and numerical.
tery icon gives an accurate picture of the current state.
18.2.2 18.2.2: VM > STATUS > VST

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User Guide v1.

This equipment complies with the EMC directive 2004/108/EC

* Reorient or relocate the receiving antenna

Harman International Industries Ltd. 2014 All rights reserved

Harman International Industries Limited

Vi3000 USER MANUAL: CONTENTS

1.0 INTRODUCTION 12.0: METERING

4.0: HARDWARE OVERVIEW 14.0: SNAPSHOTS, CUELISTS, GLOBAL FILTER

Welcome To The Vi3000!

1.0 1.0 Introduction

For your own safety and to avoid invalidation of the warranty

THIS UNIT MUST BE EARTHED

Earth: Green and Yellow (Green/Yellow - US)

Read these instructions.

1.1 1.1: INTRODUCTION > SAFETY

4 This warranty shall only be available if:

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

Stagebox Mic In (max gain) to Local Line Out <0.035% @ 1kHz

Mic Input E.I.N. <-127dBu (150 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

AES/EBU Input Sample Rate 32108kHz (with SRC enabled)

DSP Resolution 40-bit floating point

Accuracy < +/- 50ppm

Jitter < +/- 2ns

2.0 2.0: Vi 3000 Specifications

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 2k7

All other analogue Inputs >10k

Line Outputs <75

AES/EBU Outputs 110

Oscillator 20Hz to 20kHz/Pink/White Noise, variable level

Mic In HP Filter 80Hz fixed, 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

Mains Voltage Operating Range 90-264V, 47-63Hz, auto-ranging

Mains Power Consumption

Console 300W (both PSUs operating)

Stagebox (64in/32out) 150W (both PSUs operating)

Internal Mass Storage 120GB SSD Hard Drive

Operating Temperature Range 0C 45C (32F 113F)

Relative Humidity 0% 90%, non-condensing Ta=40C (104F)