Around this time, the renowned sound company specializing in mixing consoles chose to base its new products on what it calls “Dual-Purpose Consoles,” that is, consoles with a double function, for both P.A. and monitors.
The MH3 is a console designed mainly for live sound, and its biggest advantage is that it can be used as both a P.A. desk and a monitor desk without making any changes; all we would need, if we wanted to, is to switch the faders that control the subgroup masters over to controlling the aux masters, simply by pressing a button located above each one.
I have always maintained that today it is essential to take into account the versatility of the equipment that sound companies need to buy, since it leads to significant cost savings and lets them offer a service better adapted to the needs of each engineer and each client.
Among the live consoles on the market today, this is without a doubt one of the options to consider if what we want is a high-performance, high-quality console that doesn’t carry too steep a price tag.
What does the MH3 offer us?
At first glance we find a console that packs a whole host of features within reach of any of today’s engineers into a smaller footprint and a lower weight than its predecessors.
This console comes in versions with 24, 32, 40, 48 and 56 mono channels plus 4 stereo inputs. Each mono channel has a four-band EQ (two semi-parametric and two fully parametric), 12 aux sends, of which four can be turned into two stereo sends for monitor duty (for example, to use with wireless in-ear monitors); 8 subgroups, 8 VCAs, a direct out switchable pre or post “fader + EQ,” and a typical 100 mm fader.
If there is one thing to be greatly appreciated on this console, it is that the EQ frequency and gain controls are not concentric but separate, even though that increases the size of the console. However, I do miss the option of using jack connectors, which are always versatile, to bring signal into the desk.
The stereo channels differ from the mono ones only in that all their EQ bands are semi-parametric and they have no selectable high-pass filter, only a fixed one at 80 Hz.
Although this model doesn’t come with as many “little lights” as we were used to on consoles like the “Vienna” or the “Europa,” we still have an LED bar on the input channels that shows the signal level in each one, something that shouldn’t be missing on these high-performance consoles.
On the rest of the console we find the corresponding subgroup masters (assignable to the auxes, as I mentioned), which can have a small three-band EQ with one band semi-parametric (often quite useful when mixing monitors); if desired, it can be used for the 8 returns (the only way to bring jacks into the desk) instead of for the auxes. As it should be, on the connector panel we find balanced XLR outputs, separate for the auxes and for the subgroups, as well as the corresponding insert, assigned according to what we have selected on the master fader.
In the Masters section, we find two faders for the L-R stereo output plus one for the Mono (or center) output, which can be switched by a button to control the monitor level if we use the console for monitors. This console, like many others, gives us the option of turning these three outputs into an LCR output so that stereo adjustment with three P.A. systems (two sides and one center) is more precise. We also have a 12x4 Matrix section to which the subgroups, L, R, C and the corresponding external input for each can be routed.
Lastly, we have the VCA and CPU sections. With 8 100 mm faders we can control all of the console’s input channels via VCAs, assigning one, or more than one, to whichever channels we like. Using VCAs is the norm in today’s engineers’ mixes, although since everyone has their own way and tastes, many still use subgroups, and even both at once, which is one more advantage the MH3 offers us. In the CPU section we have the options for assigning the VCAs and the Mutes; the latter not in the traditional way but, thinking of the possibility of use in theaters or shows with many changes in the channels used each time, we have to set them up by scenes, up to 128, with eight of these within reach via the Mute Group Masters. The main difference from traditional mute masters is that when you recall them, you leave the channels’ positions (on or muted) just as they all were when the scene was recorded. Personally, for live work, I still prefer traditional mutes, which are easier and quicker to use.
Put to the test
I have been able to use this console on numerous occasions since it appeared last spring, making use of each and every option the MH3 gives us. From my experience with it, I believe we are looking at a console that offers, from the engineer’s point of view, a sufficient tool to mix any live show, although of course we all always want to be given a top-of-the-line console, but we know that isn’t always possible. From the point of view of professional sound companies, this console gives them a versatile tool that is well in line with “normal” demands without requiring a large outlay of money.
Like all the Soundcraft consoles I know, the MH3’s EQ quality is very clean and precise (although I have never again seen one like the 8000, which we like so much), and of course, like all its siblings, it needs a good PA system behind it to deliver all the dynamics it offers.
Most of the engineers I know who have used it are happy with the results, since, as I said, it offers the features we normally need. You might miss a button to switch off the insert, or analog VU meters for the master outputs, more “little lights” for what is selected, and even a fully parametric EQ; but of course, for that we have the consoles that “cost” much more than this one.
On the technical side, we find that most of the cost savings on this console come from the fact that, instead of being modular, it is built in groups of eight channels, which means a failure affects 8 channels instead of one. Soundcraft consoles in general tend to suffer quite a bit from knocks and, especially, from rain; of course, what you have to do is “not let” them get wet.
In conclusion, this console offers a very high value for the money, since it has almost all the features a good engineer demands; great versatility, as it can be used both “inside” and “outside” the stage, and a very good final sound; and all of it at a quite reasonable price within today’s live console market.
A look at Soundcraft’s other “Dual-Purpose” consoles
SOUNDCRAFT MH4
In addition to the MH3, Soundcraft released last year a console with superior specs, the MH4; and it recently launched the GB4, a console based on the line of its bigger siblings but with reduced features and a considerably more affordable price.
On the MH4 we find several differences from the MH3: the main and first one is its modular construction, which notably increases the price, though it makes the channels independent in the event of a failure. In channel count we find the same configurations as the MH3, although this time we have a 20x8 Matrix.
On the input channels the difference is 16 auxes instead of 12, eight of which can be used as stereo aux sends (in monitor mode) or as stereo groups (in FOH mode), selected with a button on each of the stereo masters of the corresponding pair of sends. We also have a button to turn the insert on or off (for me, quite important). Also different is that the EQ places the frequency and gain controls of each band concentrically, to save space (something I find very awkward to work with).
Something quite interesting that the mono channels offer is a balanced XLR direct out, plus a follower of the input signal, also on XLR and with the option of lifting the ground on this output.
As a last notable difference, it has a meter bridge with 8 selectable analog VU meters plus 3 VU meters for Left, Right and Center (or Mono).
SOUNDCRAFT GB4
As a new release, Soundcraft presents the new GB4, a console with fewer features than the MH3 and MH4 but which maintains the quality and the idea of versatility that they have.
The GB4 comes in 12, 16, 24, 32 and 40 mono channel formats plus 2 stereo. Each mono channel has a 4-band EQ (two of them semi-parametric), a high-pass filter fixed at 100 Hz, eight auxes, 4 subgroups and 4 mute groups and a good 100 mm fader; they also have a line input on a jack, a stereo jack insert and a direct out with a pre/post fader (and EQ) selector. The stereo channels have no semi-parametric EQ on any of their 4 bands although they have both XLR and jack inputs.
In the masters section we have the L and R faders, plus one for C with the option of internally sending the L-R signal to it. And as the main feature of the “Dual-Purpose” consoles, on this desk we have the ability to use the 4 subgroup faders as faders for the masters of the first 4 auxes of each channel. We also have a 7x4 Matrix. Besides all this we find small details such as a limiter on the record output, an internal talkback, two stereo returns and a stereo control room.
Obviously, this console doesn’t have as many features as the other two, nor is it modular, but even so, I think we are looking at a console with very good characteristics and enough features (maintaining the quality and the line of the MH3 and MH4) to handle events and live shows in theaters, small clubs and mid-sized performances at a quite acceptable price.
This latest console Soundcraft presents reminds me of many other consoles with similar characteristics that I have used at events like those mentioned or installed in small auditoriums or theaters, such as the Midas Venice, the A&H GL2200, the Spirit LX7 or the Soundcraft Series Two; although on this one I find some quite interesting details, which I’ve already mentioned, and above all the ability to use it for both P.A. and monitors (or both), which of course gives it great versatility and, above all, a good place in this broad market of consoles for mid-sized events.
