Vi3000
The Soundcraft Vi3000 features an all-new appearance with a more efficiently designed control surface, 36 faders, 24 mono/stereo busses and a sweeping black screen panel with four Vistonics II touchscreen interfaces with sleek, updated 3D graphics. Because the Vi3000 has four touchscreens, it`s the only console in its class that can be used by two engineers at the same time.
The Soundcraft Vi3000 offers extensive rear panel connectivity. In addition to a full complement of analog and digital inputs and outputs, the console provides MIDI, USB, Ethernet, DVI out, Dante/MADI record feed outputs, redundant power supply and other connections. The Vi3000 has two expansion bays that can be fitted with MADI Stagebox cards, to connect multiple Soundcraft Stagebox input expander modules. The Vi3000 can also accommodate the new Soundcraft Realtime Rack, a hardware/software unit designed in collaboration with plug-in manufacturer Universal Audio that provides access to 74 industry-standard UAD plug-ins. The Vi3000 is the first Soundcraft console to incorporate a Dante interface as standard, for seamless digital audio networking with Dante-enabled devices.
Along with its greatly expanded functionality, the Vi3000 retains all the features that have made the Soundcraft Vi Series the consoles of choice for live sound engineers worldwide, such as FaderGlow illuminated faders that display different colors according to function, the ability to store and recall snapshots and cues, compatibility with Soundcraft`s ViSi app that allows remote control from an iPad, built-in Lexicon reverb/delays, dbx compression, effects and more.
Features
- Virtual Vi offline set up - Set up your shows offline and load them into the Vi3000 via USB
- VM2 radio mic status monitoring - Monitor the status of SHURE ULX-D and QLX-D and HiQnet-compatible AKG radio mics directly from the console surface with realtime visual displays of battery life, RF status, mic muting and internal clipping.
- BSS DPR901ii Dynamic EQ - this acclaimed industry-standard DEQ is built in as standard with 8 instances available for inserting on any input or output channel. The DEQ can be used at the same time as the existing channel EQ and Dynamics sections.
- Copy/Paste channel bus and FX settings - Dedicated Copy and Paste buttons on the surface allow the settings of any channel, bus or FX section to be copied and pasted, dramatically cutting down the set up time.
- Copy/Paste processing elements - Operators can drill down to copy and paste even single processing elements, and the last paste operation can always be quickly reversed with an UNDO function.
- Settings Library - Along with a useful library of EQ and Dynamics settings, operators can store their own settings in the console or to a USB memory stick, making initial set up and transition between shows even easier.
- Sophisticated Cue List Management - Allows changes to be applied to multiple cues and recall scope to be set per snapshot.
- Advanced events integration - Cues can trigger or be triggered by MIDI or GPIO events, including MIDI timecode. Harman`s HiQnet Venue recall function is tightly integrated within the Cue List.
- Automated microphone mixing - STUDER vMIX processing is built-in, with ability to seamlessly process up to two separate groups of 16 inputs, with clear and intuitive metering showing gain reduction.
- Snapshot crossfades - Snapshot recalls can use crossfades to transition smoothly from one setting to the next.
- ViSi Remote iPad app - Control major functions and optimise your mix from anywhere in the venue. Adjust monitor levels from the stage. Includes control of EQ Dynamics and metering overview.
- All busses to stereo - All busses can be turned to stereo without tying up two busses, providing a massive 24 stereo mix capability ? perfect for mixing large monitor applications.
- 4 Aux send points - With a total of 4 aux send points, monitor mix engineers have the flexibility to tailor mixes more closely to performers` requirements. Sends can be pre-EQ, precompressor, pre-fade or post-fade on a per channel/per bus basis.
- Aux VCA mode - VCA master faders can control the aux sends of their member channels on a per mix basis, with a FaderGlow illuminating in white to indicate the VCA`s operation on the current mix. Monitor engineers can retain control of important global elements such as ambient mics while also having a monitor mix selected and adjusting groups of sources within the current mix using the Aux-VCAs. Blue illumination of FaderGlow indicates that the VCA is controlling the global channel level to all mixes.
- Auto-increase of ambient mic levels in monitor mixes between songs - Performers using in-ear monitors want to hear the audience between songs. No problem. Vi3000 has the facility to externally control the Gate or Ducking processing from a bus in the console, so all you have to do is insert a ducker on an ambient mic with an external source of the LR bus or a spare bus, and the audience level increases automatically when the performers stop playing.
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Used Soundcraft
Soundcraft is a British designer and importer (formerly a manufacturer) of mixing consoles and other professional audio equipment. It is a subsidiary of Harman International Industries, which is owned by South Korean company Samsung Electronics.
It was founded by sound engineer Phil Dudderidge and electronics designer Graham Blyth in 1973.
Soundcraft first made its mark by manufacturing the Series 1, the first mixing console built into a flight-case. It was available with 12 or 16 input channels and 4 main stereo outputs, plus a post-fader ‘echo’ send and pre-fader foldback. Each channel had four-band fixed-frequency EQ. The Series 1 also included a multi-pin connector that integrated with a multi-channel microphone snake to route signals from and to the stage from a mix position in the audience.
The Series 1S was introduced in 1975 as an upgraded Series 1. The Series 1S introduced the classic Soundcraft four-band EQ with two sweepable mid-range sections. In addition to The Series 1S added a second foldback send and was available in a 20 channel version.
In 1975, Soundcraft introduced the Series 2 console as a live and recording console. The Series 2 began to build Soundcraft's reputation for quality desks with the classic British sound. The Series 2 launched as a four-bus console, and was later available in an eight-bus version. It was initially offered in 12 and 16 channel versions, and a 24 channel version was later added.
The design used a semi-modular approach with individual channels in separate modules. The master section was made up of echo return, group output, cue master and monitoring modules. The input channels were available in fixed-frequency EQ standard channel and swept EQ versions. The swept EQ version also allowed switching between microphone input and line input, which was typically attached to a multi-track recorder output. All channels provided stereo pan as well as four cue send buses that could be configured as pre- or post-fader and allowed individual monitoring via a pre-fade listen (PFL) function. Each channel could be routed directly to the left–right mix bus or to odd/even pairs of sub-mix buses.
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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.
Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.
Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.
Package: A completed and fully edited audio piece.
Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.
Phase: Time relationship between signals; it’s all relative.
Power Output: A measure, usually in watts, of how much energy is modulated by a component.
Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.
Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.
Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.
Pre/Pro: A combination preamp and surround processor.
Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.
Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.
Q-and-A: Question and answer session.
Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.
Reverberation: The reflections of sound within a closed space.
RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.
RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.
SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.
Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.
Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.
Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.
Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.
Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.
Sound Bite: A portion of audio of someone speaking.
Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections; ratio of direct to reflected sound RT-60 time etc.
Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.
Speaker: A component that converts electrical energy into acoustical energy.
SPL: Sound-Pressure Level. Measured in dB.
Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.
THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.
THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.
User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.
Voicer: A radio report without background audio taken from a scene or otherwise.
Wrap: A radio report containing both the reporter and an actuality.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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