The blue input stage and routing screen allows adjustment of input delay, mic gain, digital trim, high and low-pass filter frequency, channel patching, channel naming and stereo pairing.
The 4-band fully parametric EQ is graphically displayed with the settings for boost/cut, frequency and Q (bandwidth), with the main screen showing the composite EQ curve. Frequency is displayed in a similar style to a radio tuner scale for easy assimilation, and the HF and LF bands can be switched to shelving EQ.
The dynamics section controls Noise Gate with attack, hold and release, and a key facility with filtering. The gate can be replaced with a De-Esser function. Working in series with the Gate, the full-function compressor maps gain reduction metering onto the LED meter in the fader area, with full control of threshold, ratio and release with an independent Limiter section and overall gain makeup.
Two areas of the channel strip allow access to routing and control of the output busses, arranged in 2 banks. The All Busses mode allows assignment to each of the busses as an Aux, Group or matrix output, with additional stereo pairing controls if busses are required as stereo sends.
Subsequently within each channel strip setup, busses can be switched on or off with level control and individually switched pre or post fader, pre-EQ or pre-compressor.
The final section of the channel strip controls the Pan, Insert and Direct out functions, with assignable LR and C, or LCR panning modes. Inserts can be switched pre or post EQ/Dynamics or post-fader, with the Direct output send assignable to pre-filters, pre-EQ/dynamics, post EQ/dynamics and post-fade points.
FaderGlow™ is a unique and elegant solution to the inevitable confusion caused by assignable faders. Fader tracks are illuminated in colours that integrate with the Vistonics screens to provide at-a-glance information. Matrix outputs, sends on fader, VCA groups, graphic EQ- you’ll always know exactly what function is being controlled by what fader at any give time. And with all fear of confusion removed, operators are free to take full advantage of Vi3000’s user-configurable fader layers, mapping essential channels to a central position and customising outputs for convenient operation.
The Vi3000 is a console with friends in high places. Sound quality is assured by Soundcraft SpideCore - a brand new 40-bit floating point DSP engine that mixes FPGA and DSP technology in a unique combination that maximises IO routing and DSP mixing capability in a footprint small enough for inclusion within a control surface. FX come courtesy of four independent stereo Lexicon multi-effects units, each providing 14 reverbs, 7 delays and 8 pitch shifting effects, patchable to input channels, aux outputs and channel inserts. BSS third-octave Graphic EQ is available on every bus output, with fader bays illuminating in red to indicate GEQ mode.
Consistent with a philosophy of uncompromised sound quality, Soundcraft has partnered with renowned plug-in manufacturer Universal Audio to develop the Soundcraft Realtime Rack, delivering tight integration of UAD Powered Plug-ins and the Vi3000 console. 48kHz latency is sub-2 millisecond and full snapshot store and recall is available via the console’s CUE/Snapshot system. Two versions are available: Realtime rack Core with 14 classic Harman and UAD plug-ins, and Realtime Rack Ultimate, with 74 plug-ins – most of the UAD catalogue.
Set up your shows offline and load them into the Vi3000 via USB
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.
Monitor the status of HiQnet-compatible AKG radio mics directly from the console surface with realtime visual displays of battery life, RF status, mic muting and internal clipping.
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.
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.
Allows changes to be applied to multiple cues and recall scope to be set per snapshot.
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.
Post fade inserts provide an extra access point for inserts on every channel for use with external auto mic mixing systems.
Snapshot recalls can use crossfades to transition smoothly from one setting to the next.
Vi3000 gives you everything you need integrate into Dante audio networks and access DAWs for live multitrack recording and virtual soundchecking via MADI. MIDI, USB and Ethernet ports are also included, along with a DVI output and 4 channels of AES I/O. Uninterrupted performance is assured by dual redundant PSUs.
Vi3000 gives you everything you need integrate into Dante audio networks and access DAWs for live multitrack recording and virtual soundchecking via MADI. MIDI, USB and Ethernet ports are also included, along with a DVI output and 4 channels of AES I/O. Uninterrupted performance is assured by dual redundant PSUs.
Two ports on the Vi3000’s rear panel open up a world of possibilities for I/O expansion and networking. Simply choose from the most comprehensive range of expansion cards in the business.
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.
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, pre- compressor, pre-fade or post-fade on a per channel/per bus basis.
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.
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.
