The output section is split into two removable modules, for ease
of servicing. The fader panel below these output modules contains
the 8 vca master faders. The layout of the output section
is clear and offers excellent flexibility as well as numerous
module controls the first 8 aux outputs, the 8 group outputs,
plus 8 stereo fx return inputs. The 8 faders on this module
can control either group or aux outputs, depending on recessed
switch settings this is the key to the dual purpose
capability of the MH3. At the top of this module, 12-segment
led bargraph meters monitor the output levels.
and Aux Outputs with Swap Facility
to the dual-purpose capability of the MH3 is the reversible
signal path. This allows either the group or the aux output
signal to be controlled by a linear fader and have access
to an insert point. For FOH applications, the groups are required
on faders for subgrouping duties, and the insert point allows
external EQ or dynamics to be used on the group. The aux sends
in this application will be used for FX sends, so rotary master
controls are appropriate. By pressing the recessed GRP/AUX
ON FDR button, thereby changing it to AUX mode, the console
is set up for stage monitor use, where the aux output is controlled
by the fader, and has use of the insert point for EQ insertion.
Meanwhile the group output is swapped to the rotary fader.
It is possible to swap the fader mode for each of the 8 outputs
individually, allowing any combination of subgroups and monitor
sends on faders. This flexibility is essential when doing
monitor mixes from FOH.
the 8 fader master sections comprises a 60mm fader which feeds
either the group or aux signals to their respective balanced
XLRs on the rear panel. A pre-fade balanced insert point,
via separate 1/4" jacks, allows insertion of EQ and/or
dynamics. Each fader knob is colour co-ordinated with its
aux bus send control for easy identification when controlling
monitor mixes, and the 12- segment bargraph meter at the top
of the module provides line-of-sight metering of any fader-controlled
output. The TB (osc) button routes talkback, tone or pink
noise from the central talkback/oscillator section to whichever
output is being controlled by the fader. Illuminated MUTE
and AFL SOLO buttons are provided for each fader. If stereo
subgroups or in-ear sends are in use, the AFLs can be linked
as a stereo pair by pressing both adjacent buttons at the
same time; when linked, the AFL appears as a stereo AFL in
the stereo wedge & phones outputs.
to Mix Section
signal path, regardless of whether it is controlled by the
fader or not, can always be routed to the main mix busses
using the MIX and C switches and the PAN control.
Stereo FX Return with flippable EQ
above each group/aux output section is a stereo FX return
section. A line input from balanced rear panel jacks is fed
via a 0- 10dB gain switch, via a stereo 3-band EQ section
(see below) to a rotary level fader. Illuminated PFL and MUTE
switches are provided. The stereo return signal can be routed
to the main MIX and C busses, or directly to the nearest pair
of output faders directly below the return. This gives a number
of possible uses for the return in addition to that of a standard
FX return to the main mix: In monitor applications when a
pair of output faders will be controlling a stereo in-ear
feed, the return can provide an individual reverb return for
that mix only. Alternatively, if all 8 subgroups are not being
used in a FOH application, the return can be routed to the
output faders and then to mix, allowing control of the return
level by linear faders.
EQ section is normally part of the FX return signal path,
in which case it operates as a stereo EQ. Alternatively, the
EQ can be flipped into the output fader signal path directly
below it, using the EQ TO O/P FDR switch, where it can be
used to provide additional sweetening on in-ear feeds or subgroups.
In this case, each EQ stage functions as a mono EQ, associated
with the corresponding output fader directly below it. The
EQ section comprises fixed shelving HF and LF bands, at 12kHz
and 60Hz respectively, with a swept mid band 350Hz to 3.5kHz.
The mid band Q is fixed at 1.1. 15dB of cut or boost is available
on all bands.