Sound Devices 302 Manuel utilisateur

Compact Production Mixer

User Guide and Technical Information

Sound Devices, LLC

300 Wengel Drive

Reedsburg, WI 53959 USA

tel: +1 (608) 524-0625

fax: +1 (608) 524-0655

www.sounddevices.com

info@sounddevices.com

interstage

Phistersvej 31, 2900 Hellerup, Danmark

Telefon 3946 0000, fax 3946 0040

www.interstage.dk

-pro audio with a smile

page 2 302 Compact Production Mixer

User Guide and Technical Information

TABLE OF CONTENTS

Quick Start Checklist . . . . . . . . . . . . .3

Powering

Interconnection

Setting Output Gain Structure

Setting Input Levels

Monitoring

Front Panel Descriptions . . . . . . . . . . .4

Input Panel Descriptions . . . . . . . . . . .5

Output Panel Descriptions . . . . . . . . .5

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Mic/Line Level Selection

Gain (Trim)

Fader

Phantom and T- Microphone Powering

High-Pass Filters

Pan Switches

Input Limiters

Peak and Limit LEDs

Polarity Reverse - Input 2

Stereo Linking of Inputs 1 and 2

Inputs 4 & 5

Outputs . . . . . . . . . . . . . . . . . . . . . . . . .9

XLR Outputs

XLR Output Level

Tape Out (Mix Output)

Output Limiters

Headphone Monitoring . . . . . . . . . . . .11

HP Monitor Selection

Headphone Level and Overload LED

Return Monitoring

Tone Oscillator/Slate Microphone . . . .12

Tone Oscillator

Slate Microphone

The Meter . . . . . . . . . . . . . . . . . . . . . . . .12

Source

Scale

Ballistics

Illumination Intensity

Mixer Linking . . . . . . . . . . . . . . . . . . . .14

Powering . . . . . . . . . . . . . . . . . . . . . . . .14

Power Switch and LED

Internal Batteries

External DC Sources

Power Metering

Power Consumption

The Setup Menu . . . . . . . . . . . . . . . . . .15

Entering the Setup Menu

Setup Example

User Default

Output Limiter Adjustment

Speciﬁcations . . . . . . . . . . . . . . . . . . . .17

Inputs

Outputs

Accessories . . . . . . . . . . . . . . . . . . . . .18

Warranty & Approvals . . . . . . . . . . . . .19

Warranty

FCC Statement

CE Conformity Statement

Gain Structure and Interconnection . .20

Full Scale Tone

Setup Menu (v 1.0.3) . . . . . . . . . . . . . . .21

The 302 is the essential portable mixer for production companies and camera operators wanting to take

control of their audio. The 302 is stunning in size, ﬂexibility, control and performance; it is the most com-

pact and cost-effective battery-powered professional audio mixer in its class.

With important features to accommodate nearly any over-the-shoulder production, the 302 can interface

with any professional microphone, wireless system, or camera/recorder input. Its microphone inputs share

the same superb circuitry of all Sound Devices ﬁeld production tools.

With many of the controls of Sound Devices ﬂagship 442 mixer, the 302 has a complete feature-set in a

compact, functional design. All controls are accessible on its three main surfaces. Its high-efﬁciency power

circuitry runs the mixer from either three internal AA batteries or external 5–18 VDC.

The 302 is part of Sound Devices family of ﬁeld production audio tools, which includes mixers, preampli-

ﬁers, computer interfaces, recorders, and their accessories.

302 Compact Production Mixer

User Guide and Technical Information

page 3

QUICK START CHECKLIST

Proper setup of sound sources and input devices is quick and easy with the 302. Follow the steps outlined

below for basic interconnection.

Powering

1. Insert three AA-batteries with + side ﬁrst into the mixer battery tube.

2. Switch on the mixer power by sliding the power switch to INT. The power LED will illuminate solid

green with good batteries.

Interconnection

1. Connect the output XLR connectors of the 302 to the destination recorder, camera, or other input.

2. Connect microphones, wireless receivers, or other signal sources to the input XLR connectors.

3. Switch phantom or T-power on, as need by microphone sources.

Setting Output Gain Structure

1. Determine the required input level of the destination. If a line level connection is required, no further out-

put level adjustment is needed on the 302. If the input level requires less than line level, such as micro-

phone or a –10 dBu level, adjust the master output level accordingly (see Output Level Control).

2. Turn on the 302’s tone oscillator. Adjust the input sensitivity on the destination device so that the 302

output is at an average level with sufﬁcient headroom to accommodate signal peaks. For many digital

cameras and recorders, this is often a range between –20 and –12 dBFS as read on the recorder or cam-

era’s peak meter. With analog devices, setting input sensitivites so that tone is near 0 VU is typical.

Setting Input Levels

1. Select the overall level, mic or line, for the input channel.

2. Set the channel fader to the unity gain position.

3. Raise the gain control (push-up trim) while talk-testing inputs so that signal indicates on both the 302’s

level meter and the recorder/camera level meter.

Monitoring

1. Connect headphones to the headphone connector located on the input panel.

2. Set the headphone source to ST to monitor stereo program. Raise the headphone volume level to the

required level. NOTE: The 302 headphone output is capable of producing ear-damaging levels. Turn

down levels before switching headphone sources.

3. Monitor individual sources by moving the headphone selection switch to the 1, 2, or 3 positions.

page 4 302 Compact Production Mixer

User Guide and Technical Information

FRONT PANEL DESCRIPTIONS

910

211 12

131

15 16 1718

1. Gain (Trim)

The coarse gain control. Sets the input sensitivity

so that the Fader can be used for ﬁne gain control

with the channel fader.

2. Fader

The primary control for input adjusting level

during operation.

3. Pan Switch

Assigns the input channel to the output bus. Left-

only, Center (equal left and right), or Right-only.

4. Peak LED

When illuminated, indicates that the channel is

very near overload.

5. Limiter LED

When illuminated, indicates that the channel

limiter is operating and reducing channel gain to

prevent overload.

6. High-Pass Filter (Low Cut)

Three-position switch engages the high-pass ﬁl-

ter. Used to reduce excessive low frequencies. 12

dB per octave at 80 Hz or 160 Hz. Center position

is off.

7. Polarity Reverse Switch – Input 2

When engaged, the polarity of Input 2 is reverse

(180° out-of-phase) with respect to inputs 1 and

3. Useful to ﬂip the stereo image with MS stereo.

8. Stereo Link LED (Inputs 1 & 2)

Indicates that inputs 1 and 2 are linked as a

stereo pair. Controlled in the Setup Menu. In L/R

stereo link input 2 Fader controls overall stereo

level. When in MS position input 1 Fader con-

trols Mid, input 2 Fader controls the amount of

stereo (Side) information.

9. Limiter Switch

Activates both input and output limiters. ON

is dual-mono limiter operation, LINK is stereo

operation. Output limiter threshold controlled in

Setup Menu.

10. Output Meter

Sunlight-viewable, 20-segment LED meter. Cali-

brated in dBu when peak-reading.

11. Meter Brightness

Controls the brightness of the LED output meter.

Each push selects among four brightness levels.

12. Meter Ballistics

Toggles among the available meter ballistic

options: VU-only, peak-only, combo peak/VU,

peak-hold/VU.

13. Slate Mic/Tone Switch

Two-position switch activates the slate micro-

phone in the left (momentary) position, or the

tone oscillator in the right (latched) position. Ad-

ditional options available in the Setup Menu.

14. Headphone Selector Switch

Sets the signal source sent to headphones. Op-

tions include: input PFL 1, 2, 3; left output bus;

right output bus; Mono (summed left and right);

STereo master; RTN - stereo monitor return; MS-

mono; MS-stereo; RTN-MS.

15. Headphone Volume

Adjusts the overall volume of the headphones.

NOTE: the headphone output is capable of

ear-damaging levels. Take care when adjusting

among signal sources.

16. Headphone LED

Indicates overload of the headphone circuit and

RTN circuit.

17. Power Switch/LED

Three-position switch selects between internal

battery power or external DC sources. Power

LED illuminates when power is on. LED ﬂashes

when voltage reaches low limit (see Powering).

18. Battery Check Button

Hold to show the internal and external battery

levels on the output meter. Battery level remains

for two seconds after button release.

302 Compact Production Mixer

User Guide and Technical Information

page 5

INPUT PANEL DESCRIPTIONS

OUTPUT PANEL DESCRIPTIONS

2527

29 28

19. Transformer-Balanced Inputs

Can be used unbalanced by grounding pin-3 to

pin-1 of the XLR connector. Pin-1 = ground; pin-2

= ‘hot’; pin-3 = ‘cold’.

20. Mic/Line Channel Switch

Selects the input level of the adjacent connector.

Mic level has 40 dB more gain than line level.

21. Phantom/DYNamic/T-Power Selection

Selects the microphone powering type of the

adjacent input. DYN position turns off all micro-

phone powering. Mic powering is selected per

input.

NOTE: Use T-Powering only for T-Powered

microphones.

22. Phantom Voltage Selection

Selects between 48 V or 12 V phantom voltage

for the input channels. The three-position switch

uses two positions for 12 V—there is no differ-

ence between these positions.

23. Headphone Output

3.5 mm TRS stereo headphone output. Can drive

headphones from 8 to 2000 ohms to required

monitoring levels.

24.XLR Master Outputs

Active-balanced outputs. Pin-1 = ground; pin-2 =

‘hot’; pin 3 = ‘cold’. Can be unbalanced by using

pin-2 for signal and pin-1 for ground.

25. Output Attenuation LED

When illuminated, indicates that the XLR output

connectors are set for a level other than the fac-

tory default of line level. See Setup Menu to set

XLR output levels.

26. Return Level (Channel 4/5 Level) Control

Adjusts the gain of the return feed to balance

program and monitor signals in headphones.

27. Channel 4/5 Activation LED

When illuminated, indicates that the return con-

nector is now set as an input 4 and 5 connections.

28. Tape Out / Mix Out

Unbalanced stereo output on TA3-type connec-

tor. Same program as master output. Pin-1 =

ground, pin-2 = left, pin-3 = right. Also used to

link to the Mix In of a 442 or 302.

29. Return (Channel 4/5) Input

Unbalanced stereo 3.5-mm input connector for

return monitor audio. 3.5-mm wired tip = left,

page 6 302 Compact Production Mixer

User Guide and Technical Information

INPUTS

The inputs of the 302 consist of three, full-featured microphone preampliﬁers. Each input has a wide gain

range to accommodate nearly all signal types. The 302 easily accepts signals from low-sensitivity ribbon and

dynamic microphones, medium level wireless and condenser mic outputs, and “hot” line-level signals.

302 inputs are transformer-balanced. The isolation characteristics of transformers are superior to other

balancing techniques for the hostile and uncontrolled environments of ﬁeld production. Transformers

provide galvanic isolation from the driving source, meaning there is no direct electrical connection. Signals

are “transformed” magnetically. The input transformers in the 302 use premium magnetic core material to

achieve high signal handling capability (especially at low frequencies) while keeping distortion to a mini-

mum. Because of their inherently high common mode impedance, transformers are unrivaled by any other

type of input for common-mode noise rejection.

The inputs of the 302 can be used balanced or unbalanced. When unbalancing, ground pin-3 to pin-1 of the

XLR connector. There is no change in gain between unbalanced and balanced connections into the 302.

Mic/Line Level Selection

The Mic/Line switch on the input panel is used to select the general level for each input. Taking into ac-

count all gain stages, the 302 has 75 dB of available gain from mic input to line output. When inputs are set

to the LINE position, the input sensitivity is reduced by 40 dB.

Gain (Trim)

Like traditional mixing consoles, the 302’s input sensitivity is set using the Gain (trim) control. The Gain

control adjusts the input sensitivity so that the channel Fader can used near its unity, or 0, position. Once

set, the Gain is typically kept at the set level and all mixing is performed with the Fader control. The Gain

control features a pop-up knob so that it can be adjusted easily and then hidden from the mixing surface.

Fader

While both the Gain and the Fader control the level of an input, the Fader is the primary level control used

during mixer operation. The Gain can be thought of as a “coarse” level adjustment to be adjusted during

set up, and the Fader as a “ﬁne” level adjustment to be adjusted during operation. With a properly set Gain,

the Fader can be set to its unity gain postion at 12 o’clock. With the Fader at unity, the dynamic range of

the mixer is maximized. By setting both the Gain control and Fader inputs with varied sensitivities can be

controlled with similar positions on the input Faders.

ring = right, sleeve = ground. Connection used

for inputs 4 & 5 when selected in Setup Menu.

30. Mix In

An input to the master bus designed exclu-

sively to link the Tape Out/ Mix Out of 302, 442,

MixPre, or MP-2 to the 302 for additional inputs.

Pin-1 = ground, pin-2 = left, pin-3 = right. Shell

of TA3 connector must be grounded to pin-1 to

open connection.

31. Battery Tube

Holds three-AA batteries for internal powering.

Accepts alkaline, lithium, or NiHM rechargeable

cells.

32. DC Input

Accepts DC voltages from 5–18 VDC for mixer

powering. Four-pin Hirose connector wired

pin-1 negative (–), pin-4 positive (+). Ext DC is

completely isolated (ﬂoating) from the rest of the

circuitry.

302 Compact Production Mixer

User Guide and Technical Information

page 7

Phantom and T- Microphone Powering

The 302 can provide either phantom power or T-power to each input and is selected individually. If neither

phantom or T-power are required, for instance with dynamic microphones, it is good practice to turn off

microphone powering (DYN position).

Phantom Power

Phantom powering is a ﬁxed DC voltage between 12 and 48 volts. This voltage is resistively applied to pin-2

and pin-3 of an XLR connector relative to pin-1. (Note that as there is no voltage difference between the

signal pins-2 and -3—a dynamic mic can operate just ﬁne in the presence of phantom powering.)

When phantom is selected, the 302 can provide up to 10 mA to each input at 48 V, sufﬁcient for the most

power-hungry condenser microphones. When acceptable, using 12 V phantom is recommended to extend

battery runtime. Many microphones do not require 48 V phantom and can be properly powered from 12 V

phantom power. The phantom voltage level is globally selected for all inputs—either 12 V or 48 V.

T-Powering

T-powering is a microphone powering scheme used by several European condenser microphone manufac-

turers. Today, T-powered microphones are not as common as phantom powered microphones, but many are

still in regular use. Unlike phantom power, T-power resistively applies 12 V between the signal pins -2 and

-3. T-power can be selected for each input. The 302 provides positive T-power, where pin-2 on the three-pin

XLR connector has +12 volts relative to pin-3. When using “red dot” T-powered microphones (reverse polar-

ity T-power) use a polarity-reversing adapter on the input, otherwise damage to the microphone may occur.

NOTE: Phantom and T-powering are not interchangeable. Use T-powering only for T-powered micro-

phones.

It is generally good practice to turn off phantom power when not using a phantom powered mic, as phan-

tom power can capacitively couple noise into the mic inputs with poor mic cables. Also, turn phantom

power off when using ribbon microphones since an improperly wired cable can permanently damage the

microphone. The DYN (dynamic) position applies no voltage to the microphone input.

High-Pass Filters

Each channel of the 302 has a two-position high-pass ﬁlter. High-pass (or low-cut/low roll-off) ﬁlters are

useful for removing excess low frequency energy in audio signals. Wind noise is a common unwanted low

frequency signal and a high-pass ﬁlter is effective for reducing wind noise. For most audio applications

engaging the high-pass ﬁlter is beneﬁcial, since little usable audio information exists below 80 Hz, especially

for speech reproduction.

The 302’s high-pass ﬁlters features a 12 dB/octave slope with either 80 Hz or 160 Hz corner (–3 dB) frequen-

cies. The 160 Hz settings is used when aggressive ﬁltering is required. The 302’s high-pass circuit is unique

because of its placement before any electronic ampliﬁcation. Most mixer’s high-pass circuits are placed after

the mic preamp, where all of the high-energy low-frequency signals get ampliﬁed. Because the 302’s circuit

cuts low-frequency signals before amplifying, higher headroom is achieved in presence of signals with a lot

of low-frequency energy.

Where possible, attempt to equalize at the sound source with microphone selection, use of windscreens,

microphone placement, and on-board microphone ﬁltering. Many microphones have on-board high pass ﬁl-

ters, and the high-pass ﬁlters on the 302 can be used in conjunction with the microphone’s ﬁlters to increase

the ﬁlter’s slope.

The high-pass ﬁlter are defeated when the switch in the center position.

page 8 302 Compact Production Mixer

User Guide and Technical Information

Pan Switches

The pan switches assign inputs to output buses. Inputs can be sent to the left, right, or both outputs equally.

The 302 features excellent “off-attenuation” in the left and right positions. Using the pan switches a separate

mix of sources can be sent to the left and right outputs. For instance, a summed mono mix of all three inputs

can be sent to the right output while an isolated mix of one input can be sent to the left output.

Input Limiters

The 302 input limiters act solely as “safety” limiters, and are enabled when the output limiters are enabled

with the front-panel “LIM” switch (see Setup Menu to defeat Input Limiters entirely). In normal operation

with properly set input levels, the threshold of the input limiter will rarely be reached. If extremely high in-

put signal levels are approached, such as in high SPL environments or with misadjusted settings, the input

limiter(s) will activate to prevent overload. Without this limiter, “hot” signals could overload the mixer and

cause distortion. It is recommended that the input limiters be used at all times. Below the factory-set thresh-

old (just below clipping), the limiter has no effect on audio. There is no user-adjustments to the input limiter

threshold or its envelope.

When inputs 1 & 2 are linked as a stereo pair, their limiters also link to perform the same gain reduction to

both inputs equally. Each input has an amber limiter LED which illuminates in proportion to the amount of

limiting. If the orange LED for a channel comes on regularly, it is recommended to turn down the Gain.

Peak and Limit LEDs

Each input has an indication of peak signal activity. When an input nears its clipping level (3 dB below),

the red Peak LED illuminates. If the Peak LED comes on often, it is recommended to turn down the Gain. If

limiters are active, the amber input limiter LED illuminates during limiting.

Polarity Reverse - Input 2

Engaging the polarity reverse switch inverts the polarity of input 2. Polarity reversal is often used to quickly

reverse the stereo ﬁeld in MS recording. The normal position is OFF, with polarity reversal occurring when

the switch is in the ”Ø” position.

NOTE: Be advised that an audible pop occurs when the polarity switch changes states.

Stereo Linking of Inputs 1 and 2

Stereo linking allows inputs 1 and 2 to be controlled as a single, stereo input. This is useful when stereo mi-

crophones or stereo line level signals are used with the 302 and the operator wants a single knob for control-

ling the overall signal.

There are two modes of operation for stereo linking, X/Y link and MS stereo. In both cases, inputs 1 and 2

are used for the inputs. Stereo linking is activated in the Setup Menu.

X/Y Stereo Link

Inputs 1 and 2 can be linked as a stereo pair to simplify control with stereo microphones. X/Y stereo linking

is set in the Setup Menu. When in X/Y stereo link operation, inputs 1 and 2 pan switches still control signal

routing. Fader 2 controls the overall level of the pair. Each input Gain and high-pass controls still function

on their respective inputs.

In X/Y Stereo linking, the limiters for inputs 1 and 2 are linked to operate identically on each signal.

MS Stereo Linking

When MS stereo linking is set in the Setup Menu, inputs 1 and 2 are linked as an MS (mid-side) stereo pair.

302 Compact Production Mixer

User Guide and Technical Information

page 9

MS is a popular stereo conﬁguration because of its good spatial placement, mono-compatibility, and sur-

round compatibility.

The 302’s MS matrix uses input 1 for the Mid signal and input 2 for the side signal. The input 2 Fader con-

trols overall gain. Input 1 fader and input 2 pans are disabled. The Gain and high-pass ﬁlters still act indi-

vidually. The Gain control for inputs 1 and 2 is used to vary the Mid and Side levels respectively. Using the

input 2 Gain is an effective way to control stereo spread.

Inputs 4 & 5

When additional inputs are needed, such as when multiple wireless receivers are used, the Return connec-

tor can be reassigned to act as an input connector for channels 4 and 5. This functionality is set in the Setup

Menu (see Setup Menu).

Several options are available for inputs 4 and 5. Either or both inputs 4 and 5 can be sent to the left, right, or

left and right output bus. The sensitivity of inputs 4 and 5 is controlled by the trim control adjacent to their

3.5-mm connector. Note, this unbalanced input is suitable for tape or line level devices only. There are no

microphone preamps on inputs 4 and 5.

To indicate that the Return connector is now used for inputs 4 and 5, the 4/5 Channel Enabled LED (on the

output panel) illuminates.

OUTPUTS

The 302 is a two-bus mixer. Because each input can be “hard panned” between the left and right output bus

the 302 is easily used in either stereo or dual-mono operation. With dialog often recorded in mono, each

output connector can be used to feed a separate camera or recorder. XLR Outputs and Tape Outputs share

the same program content.

The 302 has no master level control. The master is factory-set to unity gain, or “0” dB.

XLR Outputs

The two XLR outputs are active-balanced connections, each capable of driving long lines. These connections

can be used either balanced or unbalanced. When unbalancing, use pin-2 for (+) and pin-1 for ground; ﬂoat

(leave open) pin-3.

XLR Output Level

With no external mic/line level switch the 302 output level is adjusted in the Setup Menu (see Setup Menu

for details). From the factory, the 302 is set for Line Level outputs. Adjacent to the XLR outputs, the Output

Attenuation LED indicates if the XLR outputs are at a level other that Line Level.

if illuminated, XLR

output level is set

below line level

Line-Level or Mic-Level (or somewhere in between)

By adjusting the attenuation level in the setup menu (see Setup Menu for adjustment) the output level of

page 10 302 Compact Production Mixer

User Guide and Technical Information

the 302 can be adjusted from line level down to mic level. Both left and right XLR outputs are adjusts at the

same time—there is no ability to adjust left/right independently. Additionally, operating levels between mic

and line level can be set. Attenuation is set from 0 to 16 dB in 2 dB increments, and 40 to 56 dB in 2 dB incre-

ments. The common attenuation levels of –10 (aux level) and –40 (hot mic-level) and –56 (low mic-level) are

available.

When setting the output attenuation, determine how much attenuation is applied by adding the values

shown of the solid LEDs. For instance, to set 40 dB of attenuation the values of –30 (right meter) and –10

(left) meter will be indicated.

Output levels are set depending on the device (camera, recorder, transmitter, etc.) that the outputs are con-

nected. This unique control is ideal since the gain structure can be precisely set for any given piece of equip-

ment.

To change the mixer from line level to mic level perform the following steps:

1. Turn off the mixer, if already on.

2. Press and hold the Peak/VU selection button while switching power on. Continue to hold down the

PK/VU button until the –30 LED begins ﬂashing at the left meter.

3. The Setup Menu is now entered and Output Attenuation is the ﬁrst setup (the –30 left LED is ﬂashing

and the 0 LEDs are lit).

4. Use the brightness (down) button to apply attenuation. Successively press the down button until the

–30 LED (right meter) and the –10 LED (left meter) are illuminated.

5. Step through all setups using the PK/VU button until the meters “dance”.

The setting is now saved and the Output Attenuation LED should now be lit.

Tape Out (Mix Output)

The 302 has an unbalanced, two-channel tape level output on a single, locking Switchcraft TA3M-type

connector. Tape output program is the same as the XLR Output. The Tape Out level is ﬁxed at its –15 dBu

nominal level and is electrically isolated from the XLR Outputs.

The 302 Tape Out is used to connect the 302 to numerous inputs, including: MiniDiscs, DATs, compact cas-

sette recorders, and wireless transmitters. Additionally, the Tape Output functions as the Mix Out to link

multiple Sound Devices mixer (see Mixer Linking).

Output Limiters

In addition to the limiters on each input channel, the 302 has a software-controlled Output Limiter. Output

limiters are used to prevent overloading of recorders, cameras, and wireless transmitters connected to the

302. The Output Limiters on the 302 use an optoisolator-based peak limiting circuit. The Output Limiter

threshold is set in the Setup Menu. The Output Limiter can be set in one of two positions, Link or LIM.

Link (Stereo Operation)

When set in the link position, the Output Limiter acts identically on each (left/right) output bus. If one

output causes the limiter to engage, the other bus will follow suit. This is useful when using the 302 in ste-

reo—limiter operation will not affect the stereo image.

LIM (Dual-Mono)

When using each output bus separately the output limiter should be set to the ON position. This position

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