The Soundcraft MH3 is a dual function audio console, designed to switch to either front-of-house (FOH) or monitoring applications. This flexibility is one of the trademarks of an industry that is finding ways to give you more features for the money you spend on one product. The functionality of the switching is as easy as depressing the switches to change from FOH mode to monitor mode.
The console comes in different channel configurations; I had a 40-channel console with four stereo channels. Soundcraft has provided a number of ways for you to tailor this console to your needs: it starts in a 24- channel frame and increases by eight channels in different frame sizes, which you can then load up with the configuration you want with extra matrices (optional), stereo or mono input channels.
It’s a very good looking console featuring a silver metallic surface, chrome side panels, color-coded knobs, a leather hand rest and bright board lights. There is even enough room to put board tape comfortably below and above each channel while still being able to expose the channel numbers on the strips – sometimes an afterthought on other consoles.
The 40 mic/line inputs are built in banks of eight on the MH3, thereby bringing you the console at a lower cost than if there were individual channel strips that could be removed for maintenance. The down side of this is you have to lose eight channels if a bank must be repaired.
The likelihood that you will have problems with the input strips is low due to the solid construction of the desk. Pulling a knob off of one of the faders revealed each potentiometer secured firmly to the surface with a nut around the pot. The result is a solid feel when you turn the knobs and handle the strip. Some cheaper consoles forego this option; in these cases, the pots stick through the top of the surface, wiggling from side to side when you touch them.
This is important to me because flex in the frame of the desk, or knobs that wiggle from side to side, mean that you will have problems earlier down the road because the circuitry is not put together solidly. When I picked the MH3 up from the case, it felt solid.
Each input channel strip features 12 auxiliary sends, a fully parametric EQ on low mid and high mid bands, with a semi parametric EQ on the lows and high bands. Fully parametric EQ gives you a Q pot that allows you to dial in the exact bandwidth of the frequency you want to affect. Semi parametric EQ has a shelving EQ on the lows and highs, but does give you the option to select frequencies, ±15 dB, 30 Hz – 500 Hz in the lows and 1.2 kHz – 20 kHz in the high range.
I found the EQ to be responsive and clear, something that Soundcraft has been noted for in the past.
On the rear panel of the MH3 you will find balanced ¼–inch direct outputs on each channel input, which are great for isolating record feeds on critical inputs.
The 12 auxiliary sends can be switched from pre- to post-fader in segments of two. The first eight auxiliaries are switched in pairs of two, while the 9-12 auxes have one switch for all four. In addition, the first four auxes can be switched to stereo mode for use with in-ear monitors, providing level and pan options for the stereo pair. Once again, flexibility in the design allows you to tailor your usage of the desk to your application.
Next to the auxiliary pots are the assign switches for the eight subgroups that are available on the desk when the console is being used for FOH. In addition to the eight subgroups, there are eight VCA (voltage controlled amplifier) faders that give you control over the fader level, mute and solo functions while still being able to use the individual faders for mixing. Unlike subgroups, VCAs provide a way to control channels without adding another gain stage in the mix, thereby cutting down on added noise floor.
Along with the VCAs, eight mute groups are assignable to input channels with a Mute Safe feature for critical inputs that should never be turned off in a scene. Mute groups are not displayed on the channels but you can push the Mute Preview button to see how you have your groups set up.
The console can be ordered with an optional VU meter bridge, a feature our review unit did not have, but I didn’t really miss it due to the peak metering of a 12- segment LED on each channel. This gives the visual reference I like to have when mixing on the fly; I can see the signal from each input onstage.
The MH3 is also a left-center-right console, assignable at each channel to LCR, stereo mix, or mono center channel. All outputs are balanced XLR, eliminating the need for mixing and matching ¼-inch connectors and XLRs in the signal looms. Each output and input also has a balanced send and return insert point, a feature that is a must for me. This balanced insert point is usually the first on the cost-cutting chopping block, but also one of the more necessary features to help keep ground loops and hums from affecting the system.
One feature I did not expect to see on a mid-priced console was the Solo In Place function. This allows you to mute all other channels during a sound check while you solo one input for adjustment in the PA. I often use this feature when the whole band is playing at once and I need to solo the vocals or choir for a quick adjustment.
The MH3 features a 12x4 matrix section with the capability to route any of the eight subgroups, the LCR feeds or an external input to the matrix outputs. Matrices are used often for stereo record feeds or output busses to other rooms, paging systems, backstage monitors, and hearing impaired systems.
Next to the matrix section is a talkback strip with the onboard noise generator, used for analyzing a system. The talkback system can also be integrated with intercom systems for communications from the desk.
One of my favorite features on the MH3 is the ability to control external EQs such as the BSS Varicurve or the dbx Driverack systems. Through MIDI control, the console can control the EQs by soloing the output buss and automatically selecting the proper channel on the EQ. I did not have the gear to try this out, but I like the concept.
This console is also controllable through MIDI commands to link to an external source and recall up to 128 scene changes. This feature makes it simple to execute mute and VCA assignments through an external source. If you were to have a complex show with many changes, this is something you could trigger externally with a sound cue.
One of my favorite features on this desk was the eight stereo aux returns in the master section. To me that is like adding an additional 16 channels to the desk Each of these have a three-band EQ and can be used for effects returns or playback inputs with a separate level control and EQ. Used in monitor mode, this can be the sweetener for an FX return directly to your stereo in-ear buss. In FOH mode, this stereo return can be assigned to the subgroup faders below for some extra EQ on the group buss.
If you need more flexibility, step up to the larger Soundcraft MH4 console; you will find individual removable strips for inputs and outputs, an expanded auxiliary section, direct XLR split outputs on each input channel, a built in meter bridge, and insert points on the expanded matrix section. The EQ section on the MH3 is exactly the same on the MH4 but with a slightly different layout between the two consoles.
The MH3 console appears to be very good fit for the house of worship market, and will be a key player in the mid-priced budget range of consoles. It has a great feel, in construction, sonic accuracy, and features.
The Soundcraft MH3 starts at $15,495 (U.S.) for the 24-mono and 4-stereo-channel model.
