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Allen & Heath GL2800-24 DJ mixer

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1. PHONES DUAL STEREO RETURN DUAL STEREO RETURN TALKBACK MIC GAIN SI N STI GAIN 5 1 en ih d zl I E I a P2 N po e A ei E piRect To LR p G STEREO _ TALKBACK 2TRK REPLAY GAIN SZ Viv Vly M Nr M xr La A N NL u A MIN MAX v 10 OSC NOISE 2TRK Vly TOLR M Ne lt YSN O POWER win max o an PINK NOISE L R am 1kHz OSC a a m mg 9 JON 6 3 0 M 3 6 9 12 L R 16 20 30 MTX1 2 Tee ee C PFL AFL MTX3 4 MONITOR gt AL 6 AUX A se A 1 2 vd Vo AUX 3 4 M AUX 5 8 LR p UA AUX 9 10 2TRK 00 00 EL Ely yy y LATCH MTX1 A y TALK STEREO oo to L MUTE MUTE MTX2 MTX3 STEREO MTX4 AX Ly aux VL AUX 17 AUX 17 AUX 2 ay ae yY 910
2. MONO INPUT STEREO INPUT MASTER L GROUP 1 amp 3 GROUP MTX AUX 5 8 AUX 1 2 BALANCE TB MIC PRE POST FADER BALANCE 48V AUX 9 BALANCE 37 MONO CHANNEL PR PREFADE R SW SWITCHED le e EDCBA PO POSTFADE I LIL e e OJO D io MONO CHANNEL PR PREFADE SW SWITCHED PO POSTFADE AUX 1 2 STEREO CHANNEL x 1 PR PREFADE SW SWITCHED e e e el FPE PO POSTFADE LI e Weeelt 4 O Aa STEREO RETURN ee e PR PREFADE G GIF E PO POSTFADE AUX 1 2 9 10 PO PR L MASTER 38 Aux pre post EQ For convenience this option is a recessed front panel switch per channel No internal access is required The up position is post EQ pressed is pre insert and pre EQ Note that this setting affects all pre fade sends from the channel including auxes and direct output Direct output source Factory default is pre fader This is common for live recording to multitrack The live mix fader movements do not affect the recording Move the jumper from PR to
3. MASTER L GROUP 1 amp 3 GROUP MTX GROUP 2 amp 4 Hi He D gt AUX 1 3 BALANCE B MATRIX 1 4 e AUX 2 4 BALANCE gt BALANCE Hi AUX 1 2 9 10 n PRE POST FADER AUX 10 ae BALANCE TB MIC BALANCE 48V AUX 9 BALANCE SLAVE CONSOLE SYS LINK V2 OUTPUT A B 37WAY CABLES A B SYS LINK V2 INPUT MASTER CONSOLE GL2800 User Guide Output balance options The aux and matrix outputs are impedance balanced as_ standard operating at nominal 2dBu and with 20dBu maximum drive They provide similar interference rejection to electronically balanced outputs when connected to balanced equipment inputs An electronically balanced option is available if you require nominal 4dBu and higher output drive up to 26dBu over very long cable runs However it is not usually necessary to fit this option as the impedance balanced drive satisfies most applications Check that you really need the option before fitting it There are two balanced driver ICs which may be used Either is suitable These are available from Alen amp Heath or good electronic component suppliers The Allen amp Heath part number is shown below SSM2142P DRV134 A amp H Part AEO302 A amp H Part AE5725 For each aux master snip the legs of the tw
4. 50 100 200 500 ik 2k 5k 10k 20k LM NORMAL OPERATING RANGE 50 100 200 HEADROOM SIGNAL TO NOISE RATIO 500 1k 2k 5k 10k 20k CLIPPING m SIGNAL d DYNAMIC RANGE GL2800 User Guide AUX SENDS These rotary controls adjust how much channel signal is mixed to each of the aux outputs They adjusts from fully off to 6dB boost Unity gain OdB is marked at 3 o clock position AUX SENDS 1 8 Mono aux sends with independent control AUX SENDS 9 10 A dedicated stereo aux send with level and pan controls Set pre fade to create stereo monitor mixes such as IEM Set post fade to create stereo recording feeds or to balance between two effects devices such as reverb PRE Press to select the channel pre fader source release for post fader Auxes 1 to 4 5 to 8 and stereo aux 9 10 are grouped for pre post switching Pre fade aux sends are not affected by the channel fader movements These are typically used to feed stage monitors Post fade aux sends follow the channel faders and are typically used to send a proportion of the channel signal to an effects device such as reverb or delay Note that post fade sends may be preferred when the console is configured in monitor mode so that the faders become channel mas
5. CONSOLE POWER SUPPLY UI E o TTI UU L FS Ce TTI BITE a EU EJ o o oooo 000 oooco 000 ki E B Read and understand the Important Safety Instructions printed at the start of this guide and the warnings printed on the rear of the console Check that your local mains supply voltage is the same as that marked on the rear of the RPS11 power unit Check that the correct mains lead with moulded plug has been supplied Make sure that the IEC mains plug is pressed fully into the panel socket on the RPS11 before switching on Grounding The connection to ground in an audio system is important for two reasons 1 SAFETY To protect the operator from high voltage electric shock and 2 AUDIO PERFORMANCE To minimise the effect of ground earth loops which result in audible hum and buzz and to shield the audio signals from interference For safety it is important that all equipment grounds are connected to mains ground so that exposed metal parts are prevented from carrying high voltage which can injure or even kill the operator Do not disconnect the ground connection in the mains lead It is recommended that the system engineer check the continuity of the safety g
6. mm 6 0 s6 ai L E m s mi D N KCN A pe n pe n bat 6 6 6 o mH o o EN ae ES sic tn sic m Ke Y YY a mure I NL IK je e oO AFL 3 z NLA 0 0 es 9 O 9 eee rt ee ee ee ee 4 1 E AUX8 SUBS el ili Ltt i cT le Oy y v J va e iI C N A A Q UT M WEDGE DIRECT Mix and Aux Fed Subs Driving the PA system sub bass speakers with their own mix has two main advantages First the mix is much cleaner because only sources that generate the low frequencies for example kick drum bass guitar keyboards and sound effects are sent to the subs Low frequency bleed from these sources into open microphones such as vocals and snare is eliminated from the PA much more effectively than using just the channel filters Second the sub bass amplifier is only working with the sources needed It is not wasting power reproducing unnecessary pickup The subs can be separately driven in several ways A common method is to use the independent M mix Route all sources to L R Route the sources you want in the subs to both L R and M Feed the LR to a stereo crossover to drive the top speakers and M to a mono crossover to drive the sub speakers Refer to the speaker manufacturer for recommended crossover frequency usually within the range 8
7. mo H wm 12 12 12 IB 12 5 E 5 E 5 5 pg 5 5 5 5 5 5 5 5 3 4 3 4 3 4 3 4 e 10 T 10 T 10 T 10 10 10 10 10 10 10 10 10 10 10 10 7 8 20 20 20 20 20 20 20 20 20 20 20 Mi 30 30 30 30 30 30 30 30 30 30 30 30 M2 Mo 00 00 M4 1 2 3 4 5 6 7 8 L R M 6 GL2800 User Guide The Range GL2800 24 22 mono mic line 2 mic stereo line 2 dual stereo returns GL2800 32 30 mono mic line 2 mic stereo line 2 dual stereo returns GL2800 40 38 mono mic line 2 mic stereo line 2 dual stereo returns GL2800 48 46 mono mic line 2 mic stereo line 2 dual stereo returns GL2800 56 54 mono mic line 2 mic stereo line 2 dual stereo returns RPS1 1 Power Supply GL2800 SLV2 Sys Link V2 console in out expander option kit ALLEN amp HEATH GL2800 M iy one um mme ue ue _ BREAKPOINT BREAKPOINT OUT OUT OUT DUI OUT MATRIX EXT IN T 2TRK IN ML Vag og RA COMMON STAIN T3 IN T2 IN 11 IN dme MTX MIX MX MTX wis p fale Un 5 INSERT INSERT INSERT w IN IN IN 7 N Yj LINE IN MONITOR r oT r USE ONLY THE RECOMMENDED ALLEN amp HEATH POWER SUPPLY
8. FOH mode In the up position flush with the panel the fader is the master for the main M mix typically used to feed a mono fill or C centre mix Monitor mode Press to create an engineer s monitor listen wedge feed from the AFL PFL mix It is common to use a wedge speaker of the same type used on stage to listen to and check the various monitor mixes being sent to the performers Together with the group aux REV function the GL2800 can be configured as a compact yet fully featured monitor console 21 12x4 MATRIX 22 The matrix adds to the powerful multi tasking capability of the GL2800 It provides a set of 4 additional console outputs lt is a mixer within a mixer creating its output from any combination of the groups main LR mix and external inputs It can be used to provide duplicate main outputs or to create new mixes from these outputs The matrix controls are positioned conveniently away from the live performance controls to avoid accidental operation Use the matrix to create special mixes for delay fill and zone speakers recording and broadcast feeds IEM in ear monitors hearing assist loops and so on Mono and stereo feeds can be created For example mix L and R to create a mono sum output to feed an additional zone or use two matrix outputs with L fed to one R to the other to create an independent stereo main output Mix in an external source such as an ambience microphone preamp to add atmosp
9. For example plug in a room microphone and patch MIC OUT to a matrix EXT IN to add ambience to a recording or monitor feed or use it as a preamplifier for a reference microphone with an RTA or other analysis equipment You could even use it to provide a better mic source to a video camera or other recorder Dual Stereo Line Inputs A trademark of Allen amp Heath consoles is the ability to combine more than one source into a stereo channel each with its own level control This can save channel space when working with two similar sources routed to the same destination for example two stereo reverb returns two backing track or sound effects players or to alternate between walk in music and recorded announcement players The two stereo return channels provide this facility Using the Mute Groups The 4 mute groups let you simultaneously mute combinations of input channels with a single key press For example use a group to mute all the drum channels or all stage mics in a musical production You could also assign a group to mute all channels during the intermission You could even use the groups to recall the correct channel settings for different bands or scenes during a theatre show Finally A Note about Combining Signals You can use a Y splitter cable or adapter to feed one output to two destinations but never try to combine two outputs to one destination This may damage or degrade the performance of the equipment driver stage
10. GL2800 boasts a massive 116dB dynamic range The signal can pass through many stages which affect its level within the console the channel its EQ fader pan a group mix and its fader on to the main LR mix with its master fader through the matrix and of course any inserted equipment The output XLR provides the professional standard 4dBu 1 23V nominal level to the next stage in the audio chain typically a speaker processor such as limiter or crossover or straight to the amplifier The amp boosts this signal to tens of volts to move the speaker cones so producing the audible sound To get the best performance from your system it is important that you set up the gain structure correctly within the console and also within and between the connected equipment Ideally each circuit should be set to clip at the same time if the signal became too hot in other words each would have similar headroom relative to its nominal operating level The resulting dynamic range is the difference between the highest noise floor and the lowest headroom through the system The performance is only as good as the weakest link The GL 2800 provides comprehensive metering to check every point within the console signal path Use the channel meters and PFL AFL system to set the gains and mix levels to average around O meter reading with usual peaks around 6 Reduce the gain if the red 16 or PK indicator lights Use the equipment meters to s
11. L R m L R s L R LL 0 ah 0 ah 1 2 1 2 1 2 5 5 3 4 3 4 3 4 5 6 5 6 5 6 7 8 7 8 7 8 M1 M1 MI 30 30 M2 M2 M2 M3 i M3 e M3 M4 M4 M4 M M M M M 5 Ls EI E NEM 5 E L R 8 L R L R B L R L R 0 0 h 0 j 0 H 0 1 2 12 1 2 _ 1 2 12 5 5 5 E 5m 5 3 4 3 4 3 4 3 4 3 4 10 e 10 T 10 ep 10 T 10 10 7 8 7 8 7 8 7 8 7 8 Mt MI MI MI Mt 30 30 30 30 30 30 Mz m M2 m M2 a M3 di M3 e M3 lo M3 iis M3 de M M Ma M M NY hes LL GL2800 User Guide 41 Cue Sheet 3 of 3 GL2800 Copy and use this page to record your console settings AZ 48V 48V POLARITY POLARITY LINE LINE PAD 48V POLARITY LINE 48V POLARITY LINE 48V POLARITY LINE 70 y 1 250 70 y 250 70 y 250 70 Lo 250 fy e e 45 400 45 400 45 400 45 400 A A M ALA A y 35Hz 1k 35Hz ik 35Hz 1k 35Hz 1k M dg DA RM PME DA A N POE gt ae Se Va ES M S No S V R i j je J Jk A CH PA A NWN AMS A Ki N gt CN Ce ION PA LF 15 15 LF 15
12. PO to change to post fade Post fade is appropriate when using the output as a direct channel effects send Channel Aux pre post settings Factory default is Aux 1 4 switched Aux 5 8 switched Aux 9 10 switched pre post fader You can change the setting of Aux 1 2 from switched to permanently pre fade or post fade if preferred Make sure you set all mono and stereo channels the same To avoid possible future confusion when the console is used by other operators we recommend you only change these settings if absolutely necessary Return Aux pre post settings The stereo returns feed Auxes 1 2 and 9 10 Factory default is the post fader so that the fader becomes a master for all feeds from the return This may be changed to pre fade if you prefer Move the two jumpers from G to F Talkback mic 48V Factory default is 48V phantom power turned on for the front panel talkback mic XLR input The option jumper is behind the TB mic XLR on the L Master board If you prefer phantom power can be disabled by repositioning the jumper to the OFF position Note that phantom power should not harm non powered dynamic microphones as long as balanced connections are used A WARNING Do not connect unbalanced sources or cables to inputs with phantom power selected To avoid loud clicks do not press the TALK switch when plugging or unplugging the talkback microphone GL2800 User Guide
13. 33 Specifications Performance Maximum input level Maximum output level Internal headroom Meters Sensitivity Master meters Channel meters Frequency response Mic CMRR at 1kHz THD n at 14dBu 1kHz Crosstalk at 1kHz Noise rms 22Hz to 22kHz Channel HPF Mono EQ Stereo EQ Power supply Mechanical Width Depth Height Weight 34 24 944mm 37 2 650mm 25 67 170mm 6 7 29kg 63 8lbs 32 1171mm 46 1 35kg 77lbs Mic 34dBu inc pad CH Line 34dBu Other Line 20dBu XLR 26dBu Jack 20dBu Channels 20dB Mix 22dB 3 colour quasi peak response OVU 4dBu at XLR output 12 segment 30 to 16dB 4 segment 12 0 6 16dB 50B before clip 20Hz to 50kHz 0 5dB gt 800B typical Mic to mix out lt 0 003 Fader shutoff gt 90dB Mute shutoff gt 88dB Inter channel gt 90dB Mic EIN 128dB Residual output noise lt 96dBu 100dB S N LR mix noise 24 routed 86dBu 90dB S N Group mix noise 16 routed lt 86dBu 90dB S N Aux mix noise 16 routed lt 92dBu 90dB S N Mix noise 24 line OdB gain 86dB S N 12dB octave below 100Hz HF Shelving 15dB 12kHz HM Peak dip 15dB 500Hz to 15kHz Q 1 8 LM Peak dip 15dB 35Hz to 1kHz Q 1 8 LF Shelving 15dB 80Hz HF Shelving 15dB 12kHz HM Peak dip 15dB 2 5kHz Q 1 8 LM Peak dip 15dB 250Hz Q 1 8 LF Shelving 15dB 80Hz External RPS1 1 IEC input External Input for optio
14. 74 ne 3 nc 2 nc 7 1 nc SS XX XN A TO INPUT 12 S9BOSZOSSSESERESARNRNR 5 OeszossesSEERNSHSZSHNXNS A dieses g95orot oaossssghsg a C CL a Z Se Se Se Se Se A cx aa a a 2 x Se E tc ccc EE zi 2 2 55S cC cc cC EE 2 2 mox CC CG st et et ei st Souza Y Adapter RCA phono jacks adapter 1 Output to 2 Inputs RCA PHONO CABLE KH END I a c UNBALANCED E UNBALANCED INSTRUMENT CABLE UNBALANCED Yes 9 TRS JACK CABLE BALANCED BALANCED TITO CIL Sleeve ground Sleeve ground Ring cold Tip hot 8 _ MIC CABLE 2 hot 1 ground BALANCED BALANCED Ring cold Tip hot 1 ground 2 hot FROM OUTPUT N Kee LEY XLR MALE XLR FEMALE 3 cold TRS to XLR F CABLE BALANCED BALANCED Sleeve ground Ring cold Tip hot XLR FEMALE TRS to XLR M CABLE 2 hot 1 ground BALANCED XLR MALE Sleeve ground Ring cold Tip hot GL2800 User Guide Audio Connections The GL2800 uses professional grade 3 pin XLR and 1 4 TRS 3 pole jack sockets To ensure best performance we recommend that you use high quality audio cables and connectors and take time to check for reliable and accurate cable assembly It is well kno
15. 9 10 gt j e T A A STEREO A 8 os A m MONITOR MUTE MUTE GROUPS REV REV REV REV REV REV REV REV REV MI ROTARIES AUX MODE GRP1 GRP2 GRP3 TOM TOM TOM Fon m MONITOR GRP1 FADERS TO LR i L R TO M FAN gt S t va A A ME WEDGE 0 008 P AFL am MODE y CN CN SON A OK N N FT CN ON N PK PK PK PK PK PK PKI PKI PK PK PK 6 C 6 C 6 C 6 C 6 C 6 C 6 1 6 6 C 6 C 6 1 0L o 0L 0 Li 0 Lj 0 Lj 0 CC 0 0 L3 o CC 0 L3 SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE Fon d B d N N I o N gp N rA N SS 4 N ZA ES AFL C an C AFL CY AFL C AFL AFL C AFL B TN PA R Ze Sago R in n Ki 2 e A R Ki a SC GRP2 RP3 GRP4 GRP6 GRP7 ue ONU 5 AUX3 AUX4 gt AUXG LXI d NS W W 10 10 10 10 10 10 10 10 10 10 10 5 5 5 5 5 5 5 5 5 5 5 0 mo 0 Il 5 5 5a 5a 5a 5a 5a 5a 5 5 5 10 10 10 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 20 20 30 30 30 30 30 30 30 30 30 30 30 00 0 0 0 00 0 0 w w 00 0 1 2 3 4 5 6 7 L R M 40 GL2800 User Guide Cue Sheet 2 of 3 Co
16. M Masters 21 Recording with the GL2800 E Pre PosEFadaAu Saiting 12x4 uci ARO m 22 Mix and Aux Fed Subs 2 Track Replay and Console Monitor 23 a di FA MA Talkback and Signal Generator 24 Using the Channel Direct Outputs Using the Stereo Channels Applications and Operating Tips 25 A Note about Combining Signals Specifications 34 System Block Diagram 36 User ele rte AC 37 nn c 40 GL2800 User Guide 5 Zia Ze 57 GL2800 77 Maa F g o 48V POLARITY POLARITY POLARITY POLARITY PHONES LINE PAD DUAL STEREO RETURN STEREO o GAIN 5 LS SM DUAL STEREO RETURN STEREO 0 GAIN 5 TL ST3 8 TALKBACK MIC FX orectTO LR x 2TRK REPLAY STEREO GAIN 10 Ge STEREO GAIN 5 7 STEREO y MAIN 5 CIN 5 SI H es Am PINK NOISE LJ 1kHz OSC 16 e O ON 9 6 3 0 M 3 Lt 6 9 12 L R 16 20 30 MTX1 2 PFL AFL MONITOR 2TRK
17. MIC GL2800 LINE SERIAL NUMBER ALLEN amp HEATH LIMITED INSERT TIP Do REVERSE C AM ane DC POWER IN DC POWER IN GRP aux 7 GRP aux 6 GRP aux D GRP aux 4 GRP aux 3 GRP aux 2 GRP aux 1 A B BACKUP mE y SEND TIP IN y DIRECT OUT DIRECT OUT DIRECT OUT DIRECT OUT DIRECT OUT DIRECT OUT DIRECT OUT DIRECT QUT 7 INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT Z SS SS LINE IN LINE IN LINE IN LINE IN LINE IN SYS LINK V2 CONSOLE EXPANDER INPUT option INPUT A INPUT B ci GL2800 User Guide 7 Introducing the Allen amp Heath GL2800 The GL2800 is an 8 bus dual function analogue mixing console designed for professional audio applications Whether mixing FOH monitors or both recording live or in the studio installed in a busy venue out on the road touring or earning its keep in rental stock the GL2800 provides the perfect solution Engineered to the same exacting standards as our top of the range consoles it ensures the highest reliability and finest sonic performance We have taken the outstanding success of our industry leading GL consoles and provided yet more innovative capability and enhanced performance for modern mixing e 24 32 40 48 56 channel frames e L Rand M mix buses e Gaudio groups with pan and routing to LR and M e 10 A
18. O zZ DO X ALL UP P AFL ONLY O Auxe 10 MONITOR MONITOR OUT Q meno IMPEDANCE BALANCED O0000000000K C000000O000K LM GAN CH MUTE INPUT ST 3 D A CH uM OI INPUT ST2 4 0 SEND RETURN 2TRK TO LR O_O al o 2 TRACK PFL AFL PHONES OUT 3 2 1 TIP LEFT RING RIGHT R R p PFL AFL MIX TO WEDGE MODE gt PFL AFL DC 3 FROM GRP 1 8 FROM LRM MUTE MASTERS M1 _ TB OSC OUT H BALANCED TB OSC 48V PHANTOM POWER pee Pu TIR D Ooa O O Oz FO TO MONITOR OO OFF JON 1kHz OSC L R MATRIX MIX MUTE I AIN i GRP6 p O MATRIX OUT G PRESS TO TALK O Miz gt zr MIC IN t 7 NEE WEDGE DIM TX3 4 GRP7 x LJ 6dB boost dices E OMe GRP8 o LATCH IMPEDANCE BALANCED 4dBu BAL OPTION 2dBu MATRIX 1 4 BALANCED 36 GL2800 User Guide User Options GROUP 2 amp 4 ch AUX 1 2 EL PRE POST FADER AUX 1 3 reg BALANCE DIRECT OUT MATRIX 1 4 PRE POST FADER AUX2 A BALANCE BALANCE AUX 1 2 9 10 PRE POST FADER AUX 10 GL2800 User Guide The GL2800 has a versatile architecture which should satisfy most applications you may encounter without modification However the following internal options provide alternative settings for those applications that may demand them Access is required to the internal as
19. both left and right sides of the stereo channel A recessed switch can be set to route the source directly to the L R mix instead of the return channel Use a pointed object to change the switch setting ST2 INPUT A level control adjusts from fully off to 16dB gain The L input signal is normalled through the R input socket so that a mono source may be plugged in to feed both left and right sides of the stereo channel AUX SENDS use these controls to feed the return signal to a combination of the auxes The stereo signal is summed to feed Aux 1 and Aux 2 in mono The signal feeds aux 9 10 in stereo Internal jumper options are provided to set the auxes pre or post fader Default setting is post fade so that the fader provides master control for all the sends MUTE When pressed all the channel pre and post fade signals are turned off except ST1 or ST3 if routed direct to LR PFL Press PFL to display the summed L R pre fade channel signal on the monitor meters and listen to it in the headphones and local monitor without affecting the main outputs ROUTING Routes the left signal to L and odd group 1 or 3 and the right signal to R and even group 2 or 4 and sums L and R to feed the M mix in mono Return channel ST1 2 can be routed to Groups 1 2 and ST3 4 can be routed to Groups 3 4 FADER A 60mm stereo fader provides 10dB maximum boost above its normal unity gain OdB position Applications for the stereo channels and returns are descri
20. by the main faders for example to provide a stereo in ear monitor mix Note LR always feeds the matrix and LR to M controls regardless of mode This means the LR mix can still perform a useful function when the console is configured in monitor mode The Aux mix is always monitored by selecting the nearby monitor select AUX 9 10 switch AUX MUTE When pressed the stereo aux LR signal is turned off The red indicator lights when the channel is muted LR to M Dials the sum of L and R into the M mix to create a mono output from the stereo mix You can use this to create a starting point for a fill or centre mix and then add selected channels using their M routing switches This control always routes the LR signal to M regardless of mode METERS 4 LED bar meters display the post fade LRM master signals FOH mode or aux 9 10 and engineers wedge signal monitor mode REV pressed LR MASTERS Separate 100mm faders control the main mix L and R output levels They provide 10dB maximum boost Each master includes a 4 LED bar meter and a MUTE switch so that L and R can be separately muted This is also useful in monitor mode where these masters carry the Aux 9 10 signals M MASTER A 100mm fader adjusts the level of the M mix The master is fully featured and includes a 4 LED bar meter and a MUTE switch WEDGE mode switch This switch is recessed to protect it from accidental operation during the show Use a pointed object to set its position
21. clipping This gives you enough warning to reduce GAIN before you hear signal distortion ROUTING Press to route to the required combination of L R M and the 8 groups Use PAN to position the signal between L R or the odd even group pairs To route to a single group set PAN fully to one side Check that you have set these switches correctly before you start mixing FADER A 100mm smooth travel fader with protective dust cover controls the channel level feeding the main mix groups and post fade aux sends It also affects the direct output if this has been set to post fade using the internal option jumpers The fader provides 10dB maximum boost above its normal unity gain OdB position MUTE GROUPS Press these switches to add the channel to Mute Groups 1 to 4 as required Pressing the master mute switch mutes all channels assigned to that group 17 The STEREO Input Channel 18 E 48V POLARITY LAA R ODD EVEN M1 M2 M3 M4 Each GL2800 stereo channel features a mono microphone preamp as well as a stereo line input These sources can be mixed together into the channel or split using the mic breakpoint so providing a unique flexibility For example you could patch the mic stage as an independent preamp for an ambience microphone
22. console input channels include POLARITY switches which reverse the and input connections Some applications include correcting for reverse wired cables correcting for microphone placement problems mixing two mics on a snare drum one above the other below where the diaphragms move in opposite directions and helping to reduce comb filtering effects as radio miked actors perform close to each other Polarity is sometimes labelled phase on mixing consoles Technically phase is not the correct term as it implies a 180 degree time shift Polarity simply reverses the wires lt does not affect time Before starting your mixing check that all the channel polarity switches are correctly set normally up Mixing the PA in mono or stereo Because a console provides an L and R output does not mean you have to mix in stereo It is often convenient to have separate fader control processor inserts and outputs to drive two mono speaker stacks in an FOH system How much stereo you introduce into your mix depends on where you position the pan controls In most situations the size of the room and position of the speakers makes stereo mixing an advantage only for a small section of the audience usually those around the sound operator Those listening near the speakers are likely to lose information from the opposite stack For this reason it is best to mix most sources in mono pan centred However it can enhance the image by mixing some a
23. feeding a recording or for a system calibration microphone while the stereo line input returns an external effects processor to the mix Two stereo channels could be linked so that the mic preamps cross patch to provide one stereo mic and one stereo line channel MIC INPUT Similar to the mono channel microphone preamplifier A rear panel MIC OUT breakpoint socket is provided so that the mic stage can be used independently Plugging a jack into the MIC OUT socket breaks its signal path to the stereo channel A WARNING Do not connect unbalanced sources or cables to inputs with phantom power selected To avoid loud clicks always mute the channel before switching 48V on or off and when plugging or unplugging microphones STEREO LINE INPUT A level control adjusts from fully off to 16dB gain The L input signal is normalled through the R input socket so that a mono source may be plugged in to feed both left and right sides of the stereo channel EQ Similar to the mono channel but the two peak dip mid bands are fixed at 250Hz and 2 5kHz centre frequencies AUX SENDS These work as described for the mono channel but the L and R sides of the stereo signal sum together to feed Auxes 1 to 8 in mono Aux 9 10 is fed with the stereo signal The auxes can be switched pre or post fader but are always sourced post EQ BAL Balances the level of the L signal against the R signal to compensate for differences in the source or to position the signal
24. instruction manuals Alternatively disconnect the cable screen at the destination end only This breaks the offending loop while keeping the signal shielding down the length of cable A WARNING For operator safety do not remove the ground earth connection in the power lead of the console power supply unit or connected equipment To avoid interference pickup keep audio cables away from mains power units and cables lighting cables thyristor dimmer units computer equipment and mobile phones Where this cannot be avoided cross the cables at right angles to minimise interference A note about balanced connections A differentially balanced connection has two signal wires signal hot and signal cold and a shield The signal source generates positive going polarity down the wire and negative polarity down the wire The destination input stage accepts the signal on its non inverting input pin but it inverts the signal adding it to the signal The result is that the wanted signal is boosted Now examine what happens when unwanted interference hum and noise is induced into the cable The noise is induced equally and with the same polarity into both wires At the destination input the wire signal gets inverted and added to the signal Because the polarity is the same on both input wires the noise cancels itself out at this input For this interference rejection to work it is important that the source the cable and the de
25. select switch bank This provides true stereo monitoring of these mixes PFL AFL automatically overrides any source selected on this switchbank Cl L3 Tech talk For an audio circuit stage Pi Input signal power Po Output signal power The Decibel is defined as dB 10 log Po Pi 10 log Vo Ro Vi Ri If input and output impedances Hi and RO are the same then dB 20 log Vo Vi dBm is defined as 1mW into 600 ohms 0 775V dBu 0 775V ignoring the 600 ohms as we assume high input and low output impedance and therefore maximum voltage transfer between stages appropriate for modern audio If you suspect the insert socket to be faulty or intermittent through excessive wear or contamination test for this by plugging in a jack with its tip shorted to its ring contact This bypasses the contact in the socket Clean using suitable electrical contact cleaner GL2800 User Guide Using PFL AFL Allen amp Heath are renowned for bringing you the most comprehensive engineer s monitoring system in consoles at this price point We recognise the importance of correct gain structure and signal handling The GL2800 includes LED meters for every input channel and main output as well as a pair of high resolution meters dedicated to monitor duty only In monitor mode the M fader and associated controls become a full featured PFL AFL monitor feed for the engineer s listen wedge The input cha
26. selected on the switch bank above the TALK switch Use the signal to test the loudspeaker MTX3 system and line up connected equipment Pink noise is useful for SE quickly testing the full range frequency operation and phasing polarity L H wm of loudspeakers The 1kHz tone is better suited to lining up equipment with its steady reading on the meters AUX 9 10 MONITOR A WARNING We recommend you turn off the signal generator once you have finished using it to test and line up your system This will prevent accidental operation during the show 24 GL2800 User Guide NORMAL OPERATING RANGE GL2800 Applications and Operating Tips CLIPPING m HEADROOM SIGNAL d DYNAMIC RANGE SIGNAL TO NOISE RATIO 90 Pv dao vpn pl php N O S E A search on the Internet can reveal a host of additional information on setting correct gain structure and many other audio topics and educational resources GL2800 User Guide The following is a collection of brief descriptions application notes hints and tips to help the operator understand some of the technical terms referred to and to get the most out of the uniquely capable GL2800 live sound mixing console They are written as a concise reference to spark your imagination to creatively and effectively deal with the many challenges now faced in modern day mixing Gain Structure The term used to describe the gain leve
27. sound intensity dBu Relative to 0 775Vrms professional standard OdBu 0 775V 4dBu 1 228V dBV Relative to 1Vrms consumer audio standard OdBV 1V 10dBV 316mV 8dBu dB A Sound pressure with a filter contour to approximate the response of the human ear Three curves A B C exist for different loudness dBfs Relative to signal maximum before clip full scale Using Inserts The GL2800 channel inserts operate at OdBu the output inserts operate at 2dBu In practice this makes little difference as long as the inserted equipment is intended for line level operation 6 to 4dBu Simply set the gain through the device to unity OdB with the bypass switch pressed if available With the effect switched in use the console channel gain control to make any further adjustments needed This keeps the gain structure correct through the channel signal path INSERT senp TIP RING d RETURN With nothing plugged into the insert the channel signal is routed through a switching normalling contact in the socket As soon as a jack is plugged into the socket the contact is opened and the signal path broken so that the external device can be patched in series with the signal 27 28 POLARITY VAR DLSpD AAA Think before you hit the switch Polarity Refers to the positive and negative wires of a loudspeaker or balanced audio connection The
28. the rotary control The aux mix is now presented to rear Group XLR complete with insert The group mix appears at the Aux TRS jack This is used for monitor mode where the auxes are the main mix feeding the stage monitors You can select any combination for the FOH and monitor mode for example just four giving you 4 fader subgroups for level control 4 groups on rotaries for inserting effects 4 monitor sends on faders 4 effects sends on rotaries and main mix Note The groups always feed the matrix and the subgroup controls regardless of mode This means the group mix can still perform a useful function when the console is configured in monitor mode GRP to LR M Press to route the post fade group signal to L R and or M These provide sub grouping to the main mix for grouped level control and inserted processing PAN Positions the group signal between L and R in the stereo mix when the GRP TO LR switch is pressed Using pan you can create mono or stereo groups positioned as you require in the main mix For stereo grouping set the odd group pan fully to the left and the even group pan fully to the right Note that the group mix always feeds these subgroup controls regardless of FOH or monitor mode selected METER A4 LED bar meter displays the post fade group signal FOH mode or aux signal monitor mode REV pressed MUTE When pressed the group aux signal is turned off This affects the feed to the output XLR LR M and matrix The re
29. to multitrack use whichever combination of groups matrix auxes and channel direct outputs is most convenient The direct outputs are set pre fade as factory default This setting means that the recording is not affected by your live fader and EQ changes Note that you can swap internal jumpers to change this to post fade if you prefer Set the channel pre EQ switches as required Remember to use some ambience microphones to record the audience and venue atmosphere too Pre post Fade Aux Settings The aux sends are switched pre or post fader using three PRE switches on every channel One switch affects auxes 1 4 another auxes 5 8 and one for stereo aux 9 10 It is usual to set auxes pre fade if you are mixing monitors from FOH Set post fade for auxes used as effects sends zone feeds aux fed subs and so on If you are using the console to mix monitors only then the auxes are typically set post fade so that the channel fader becomes the source master to all monitors In this case start with all channel faders set to 0 There are times when you may want some monitor sends set post fade while most are set pre fade for example mixing monitors with radio mics and cued sound effects Here it may be better for the radio mics to follow your fader movements so avoiding off stage chat or noise in the monitors For this reason we believe it is important that channel rather than global mix pre post switching is provided 31 32
30. 0 ohm headphones recommended Monitor out TRS impedance balanced lt 75 ohm 2dBu 20dBu max Talkback osc out TRS impedance balanced lt 75 ohm 20dBu max Lamp 4 pin XLR max 12V 5W lamp GL 2800 Series Part Numbers 22 mic line 2 mic stereo 8 group console 30 mic line 2 mic stereo 8 group console 38 mic line 2 mic stereo 8 group console 46 mic line 2 mic stereo 8 group console 54 mic line 2 mic stereo 8 group console Sys Link V2 input output option kit SSM2142P balanced output driver option IC GL2800 24 v GL2800 32 v GL2800 40 v GL2800 48 v GL2800 56 v GL2800 SLV2 AE0302 DRV134 balanced output driver option IC alternative to above AE5725 Allen amp Heath RPS11 power supply RPS11 v Allen amp Heath 18 gooseneck LED lamp right angled LEDLAMP X 35 System Block Diagram GROUPS AUX 1 8 Co A Os Y o pio d GL2800 Ea g SYS LINK CONNECTION 23a iL POLI Sa PHANTOM POWER METER AFL PF 5 48V GRP AUX REV O O et MUTE GAIN O 1 AUX O M gt E AUX OUT MIC LINE PAD POL L3 O 2 O a HPF LR AUX MIX 10dB boost an CG O I 1 2 IMPEDANCE BALANCED BALANCED TIP O I 4dBu BAL OPTION 2dBu I I i LINE INSERT OdBu a O TIP SEND FADER 10dB boost oC AFL Os N CO GRP MIX RING RETURN oz INSERT MUTE O E Ov MIC MO
31. 0Hz to 120Hz The PA overall level is adjusted by moving the L R and M sub master faders together Another method that has become popular is to use an Aux mix to drive the subs This is referred to as aux fed subs Align the system so that the normal unity gain position of the channel fader and aux send result in the correct speaker balance For sources you wish to send to the sub turn up the channel aux send to its unity 3 o clock position Avoid the temptation to ride the aux send to create more or less sub as this may upset the natural speaker balance or cause problems for listeners in different parts of the room One problem with using the aux in this way is that it becomes difficult to balance the top and sub speakers if you need to adjust the overall volume of the PA Typically the LR tops use fader masters and the aux is on a rotary master The GL2800 overcomes this with the monitor mode REV switch that swaps the rotary aux master with the related fader group master This switch is recessed for protection against accidental operation This puts the aux sub master on to a fader next to the PA tops master faders The result is you get all master faders aligned for simultaneous control individual mutes and meters and three properly balanced XLR outputs We recommend that you use Aux 8 for the sub feed This gives you 4 master faders next to each other for example Subs L R and C Other M Output Applications Apart from the
32. 1 15 LF 15 1 15 LF 15 1 15 LF 15 1 15 NA Nh NS NASA NAS gt SY Na gt SY Ne gt SY Ne gt M e DI Ne L _ L _ L Jo L _ JL EE la 80Hz A A 80Hz JI 80Hz A A 80Hz A a 80Hz PM 7s ISSN gt IN IN CN 15 15 15 15 15 15 15 15 15 15 35Hz 1k LM x gt M x e A x DS LF 15 Ms vts gt SY Ne L la 80Hz A A 15 MD yl y gt i TN wv m A KN e_N 7M A WN A AW Pas A UN PA LA PA LA S A LEN A lo 6 o 6 00 6 00 6 00 6 6 o 6 6 AUX y ly AUX vl AUX y ly AUX y ly AUX y Ly AUX y ly AUX vl AUX L 2 vy Xr 2 vy Xe 2 xf e 2 Na 2 S Ne 2 Ne 2 N Ne 25 Xe e de A A A A A S x d s PRE EQ PRE EQ PRE EQ PRE EQ PRE Ea PRE EQ PRE EQ PRE EQ AUX y ly AUX y ly AUX y ly AUX y ly AUX y Ll AUX y ly AUX y Ly AUX Ly 3 M T 3 M w 3 vy 3 M v 3 Vv e 3 e 3 Y e 3 DS Ww ALA ACA ACA ALLA ACA A A A A A 58 8 8 IN IN aN m 6 o 6 00 6 0 6 00 6 6 o 6 6 AUX yl AUX 31 7 AUX vl AUX vl AUX vl AUX 317 AUX yl AUX yl A v xr 4 SY Ne 4 M Ne 4 VN 4 M Ne 4 s 4 M 4 Y We ja ja ja nd We We m 6 o 6 00 6 00 6 00 6 6 6 6 A POST m POST Am POST Am POST m POST Am POST am POST A POST am PRE am PRE a
33. ALLEN amp HEATH X que USD LR GL2800 SER GUIDE Publication AP6095 Limited One Year Warranty This product is warranted to be free from defects in materials or workmanship for a period of one year from the date of purchase by the original owner To ensure a high level of performance and reliability for which this equipment has been designed and manufactured read this User Guide before operating In the event of a failure notify and return the defective unit to Allen amp Heath Limited or its authorised agent as soon as possible for repair under warranty subject to the following conditions Conditions Of Warranty The equipment has been installed and operated in accordance with the instructions in this User Guide The equipment has not been subject to misuse either intended or accidental neglect or alteration other than as described in the User Guide or Service Manual or approved by Allen amp Heath Any necessary adjustment alteration or repair has been carried out by Allen amp Heath or its authorised agent This warranty does not cover fader wear and tear The defective unit is to be returned carriage prepaid to Allen amp Heath or its authorised agent with proof of purchase Units returned should be packed to avoid transit damage In certain territories the terms may vary Check with your Allen amp Heath agent for any additional warranty which may apply Compatibility dire
34. DD EVEN EVEN MUTE MUTE MUTE MUTE MUTE P e N iS N 7 7 Ka N en dh Bs ms vU CUN V PFL C PFL PFL JPH j PFL PFL E PFL M1 M1 M1 M1 M1 30 30 30 M2 M2 M2 M2 e M2 M3 00 M3 M3 M3 00 M3 00 M4 M4 M4 M4 M4 M M M M M M 5 5 5 5 5 L R L R L R gt L R E L R gt L R 0 0 f 0 f 0 0 f 12 12 12 12 _ 1 2 _ 1 2 c B EUM Lg 55 08 3 4 3 4 3 4 3 4 3 4 3 4 56 10 5 6 30 5 6 10 5 6 10 5 6 10 5 6 7 8 7 8 7 8 7 8 7 8 7 8 M1 M2 M3 M4 6 0 SIG M M 5 L R L R i 0 i i 12 1 2 2 35 3 4 3 4 5 6 10 5 6 7 8 7 8 Mi Mi 30 M2 M2 M3 M3 M M4
35. LEVEL y by Y A Y MTX1 La STEREO POST POST POST m 2 PRE El a PRE 2 PRE MUTE E MT MTX3 MTX4 AUX 9 10 MONITOR MIT M2 i m POST LI WEDGE 8 MODE NS ES S gt A GRP1 GRP2 GRP3 GRP4 Tl am Tx AUX1 AUX2 EN AUX3 AUX4 6 WwW 0 sic SIG E SIG E k Se Il X A a d 10 7 10 v 10 10 10 10 10 10 10 10 10 10 10 M nl m 5 Es 5 5 5 5 5 5 5 5 5 5 5 L R E L R a LRI E m E SE GES ns ES 0 0 H wm ma mo n
36. NO INPUTS TIP PRE FADE 4 POST FADE p de Q EEN RING IMPEDANCE BALANCED 0 o DIRECT OUT E AUX9 10 AUX9 OUT METER gt MUTE O DD PHANTOM POWER i AUX9 10 MIX L3 TIP GAIN Sr 4 BAND EQUALISER PEL Sy IMPEDANCE BALANCED MIC LINE PAD POL oC o 10dB boost 4dBu BAL OPTION 2dBu dra 20dB HPF MUTE E CU SUM ud AUX9 TO MONITOR a O li Nu LR TO MONO AUX10 TO MONITOR AUX10 OUT TIP MIC OUT IE OdBu break jack RING L TO MATRIX MONITOR MONO R TO MATRIX MONITOR MONO IMPEDANCE BALANCED 4dBu BAL OPTION 2dBu LRM AUX 9 10 EI PRE FADE POST FADE 78 EH L FADER mm T OI PRE PREO PRE 2 g oJl_ 9 10 Li S 4 Il H aM HI H r i ii Off to 20dB boost 10dB boost BAL LEFT OUT 2 ZO 4dBu INSERT SEN a MUTE ot gt W O L BAL RIGHT OUT i A Il INSERT ail gt MUTE o 7 Ov O 2 M MIX O H 4dBu um STEREO LINE RO JUMPER C DI E POST SW PR Na gt c DEI MUTE BAL MONO OUT W O ae LJ o A 4dBu gt gt M TO MATRIX MONITOR 0000 E EE FROM P AFL MIX E WEDGE MODE 4 AA AA AS AA ie ay M e Y TB WEDGE DIM lt
37. ROWN N NEUTRAL BLUE E EARTH GND GREEN amp YELLOW The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or with the Earth symbol This appliance must be earthed The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed GL2800 User Guide Introduction Welcome to the Allen amp Heath GL2800 the latest generation of the popular GL series of dual function live sound mixing consoles We have tried to keep this user guide brief and to the point Please read it fully before starting Included is information on installing connecting and operating the console panel drawings system block diagram and technical specification For further information on the basic principles of audio system engineering please refer to one of the specialist publications and resources available from bookshops audio equipment dealers and the Internet Whilst we believe the information in this guide to be reliable we do not assume responsibility for inaccuracies We also reserve the right to make changes in the interest of further product development We are able to offer further product support through our world wide network of appro
38. ame stereo ambience available to both IEM mixes Alternatively you could use an outboard reverb effects processor fed from a post fade aux send to create the ambience Use the channel faders and pan to create the basic stereo mix Remember to set the other monitor aux sends to pre fade Using the Matrix to create a Recording The band may be acoustically loud in the room and you need only mix vocals and some of the instruments into the PA to get good clarity and overall balance for the listeners If you recorded the console main output you would be disappointed when you got home and listened to the result For example there may be strong voices acoustic guitar and flute but the drums bass and electric guitar may be low This is because you did not need much of these backline instruments in the PA mix However if you use the matrix to feed the recording you could start with the main LR PA mix then turn up the drum and guitar groups to compensate for the lack of these in the house system You could also add in ambience as described above to give the recording more life by including audience reaction and natural reverberation Recording with the GL2800 The console is equally at home recording live or in the project studio The studio grade preamps produce an accurate and noise free recording Create a stereo recording from the main LR output or from a pair of matrices as described above if recording and mixing live at the same time To record
39. bed later in this user guide 19 The GROUP AUX Masters GRP1 TOM GRP1 TO LR 20 AUX 1 8 MASTERS Each aux mix has a master level control that adjusts the output level to match external equipment or trims the monitor effect or other send without affecting the mix balance Up to 10dB boost is available above the normal OdB position Note that this becomes the group master in monitor mode AUX AFL Press AFL to listen to the post level aux mix in the headphones and local monitor without affecting the main outputs The console monitor meters are interrupted with the aux group signal The yellow indicator lights to show that AFL has been selected on the master Use AFL to check the signal being sent to the monitors effects or other destination AFL is pre mute so that you can check the signal before sending it to its destination REV mode switch These switches reverse the function of the group and aux masters the heart of the dual functionality pioneered by Allen amp Heath They are recessed to prevent accidental operation Use a pen or pointed object to set their position In the up position flush with the panel the group is controlled by the fader and the aux by the rotary master This is typical for FOH mode where the faders are used for subgroups feeding the main stereo mix When pressed the aux uses the fader as the master and the group is moved to
40. cator lights when the matrix is muted Mute does not affect the matrix AFL monitoring Note that the matrix mix can be checked using the meters and headphones by selecting the related monitor select switches These provide both mono and stereo monitoring of the matrix GL2800 User Guide 2 TRACK REPLAY and CONSOLE MONITOR 2TRK REPLAY A stereo source such as a recording playback or walk in CD can be routed directly to the main LR mix Adjust its level from fully off to 10dB gain using the rotary control You can check the source on the meters and in the headphones before bringing it into the mix by selecting the 2TRK monitor switch PHONES Console Monitor Comprehensive engineer s headphones and REPLAY local monitoring is provided Select the source from the monitor select switch bank Pressing PFL or AFL elsewhere on the console VI automatically overrides the current monitor source with the signal from Q 10 the channel or master selection The red PFL AFL active indicator ij E illuminates and the console meters display the active signal The console monitor meters provide 12 LED indicators to accurately display the signal level of the selected monitor source Reduce the B o P A gain or level if the red 16 peak indicator lights For optimum mi performance the signals shou
41. ctives 89 336 EEC amp 92 31 EEC and the C This product complies with the European Electromagnetic European Low Voltage Directives 73 23 EEC amp 93 68 EEC This product has been tested to EN55103 Parts 1 amp 2 1996 for use in Environments E1 E2 E3 and E4 to demonstrate compliance with the protection requirements in the European EMC directive 89 336 EEC During some tests the specified performance figures of the product were affected This is considered permissible and the product has been passed as acceptable for its intended use Allen amp Heath has a strict policy of ensuring all products are tested to the latest safety and EMC standards Customers requiring more information about EMC and safety issues can contact Allen amp Heath NOTE Any changes or modifications to the console not approved by Allen amp Heath could void the compliance of the console and therefore the user s authority to operate it GL2800 User Guide AP6095 Issue 3 Copyright 2006 Allen amp Heath Limited All rights reserved ALLEN amp HEATH Limited Kernick Industrial Estate Penryn Cornwall TR10 9LU UK http www allen heath com GL2800 User Guide Important Safety Instructions WARNINGS Read the following before proceeding RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR Read instructions Read and retain these safety and operating instructions for future reference Adhere to all war
42. d indicator lights when the channel is muted Mute does not affect the AFL monitoring GROUP AFL Press AFL to listen to the post fade pre mute group mix in the headphones and local monitor without affecting the main outputs Note that this becomes the aux mix in monitor mode The console monitor meters are interrupted with the group aux signal GROUP FADER A 100mm smooth travel fader controls the group mix output level Note that it becomes the aux mix master in monitor mode REV pressed The fader provides 10dB maximum boost above its normal unity gain OdB position GL2800 User Guide The MUTE AUX 9 10 and L R M Masters y AUX 9 10 MONITOR YN ESA Ww MUTE GROUPS MUTE L M AUX930 A 2 LISTEN PAX TAN TAI GL2800 User Guide MUTE MASTERS 1 4 Press to mute all the input channels assigned to the mute group Any combination of masters may be active at any time The red LED indicates that the master is active AUX 9 10 MASTER Controls the master level of stereo Aux 9 10 Up to 10dB boost is available above the normal 0dB position Note that this becomes the LR master in monitor mode REV mode switch Reverses Aux 9 10 rotary master with the L R faders inserts and XLR outputs Recessed to prevent accidental operation Use a pen or pointed object to set the position In monitor mode switch pressed the stereo aux is controlled
43. eful application in both modes External ambience sources can be mixed in to the matrix to create live recording and in ear monitor mixes A mono aux can be converted to stereo IEM FOH Monitor Recording LR M mixes 14 Monitors Stereo Mono Subs on M mix 8 Aux wedge 2 Track LR to M for mono 2 Aux stereo IEM 8 Groups 8 Sub Groups 4 Matrix 2 stereo IEM 4 Matrix 10 Auxes Engineers Wedge Direct Outputs 4 Matrix Ambience Talkback Ambience GL2800 User Guide 29 Applications for the Matrix The matrix is a mixer within a mixer a versatile toolbox of outputs you can use to satisfy a host of applications Each of the 4 outputs is mixed from any combination of the groups L R M and an external input as dialled up on the 12 source rotaries hence a 12x4 matrix Its master level can be adjusted independently Using combinations of the outputs you can create mono stereo or multiple output mixes Some applications include Rh di Mono Recording lf you are working with a stereo PA you can combine L and R into a matrix output to produce a mono mix feeding a recorder video camera and so on Raise the L and R rotaries to the 2 o clock position to sum them together You can use the built in 1kHz tone generator to feed a line up tone to the connected recorder AO YA YA 4 Kar Nd Bt d A 00 Stereo Recording Raise L to the unity 3 o clock position in one matrix R in another to create a stereo pair that fo
44. enabled in pairs PINK NOISE L R y x 1kHz OSC ee x ideal for working with stereo in ear monitors or communicating with an 16 om outside broadcast facility You can also talk to LR and M typically na Agi used for announcements to the audience Once selected press and mo e hold TALK to route the mic to the required destination Adjust the By E talkback level using the TRIM control below the TB mic XLR Pressing Di JE TALK automatically dims the level of the signal generator if it is turned EH o EH on EB 30 EJ xt nA TALK latch mode Press this switch to permanently activate the EN Q run TALK switch This is useful when using a handheld microphone with Eg MIXS 4 built in switch for talkback It means you do not need to press the gt E TALK switch to talk to your enabled destinations Simply use the IM switch on the microphone The latch switch is recessed to prevent m accidental operation Use a pointed object to change its setting aux EE AUX lia SIGNAL GENERATOR PINK NOISE Press to select either ds pink noise up position or a 1kHz sine wave tone as the test source AUX BN TRK Start with the trim control turned fully down The generator ON switch e 9 10 is recessed to prevent accidental operation Press this with a pen or gu A pointed object The green indicator lights to warn that the generator is TCH MTX1 EN N enabled E L we The generator signal is routed to any source
45. eparately The mic preamp has a TRS jack MIC OUT breakpoint so that its output can be used independently Plugging into this socket breaks the signal path feeding the channel and routes it to the jack instead ST1 and ST3 stereo inputs can be routed either into the return channels or directly to the LR mix This is configured using recessed mode switches which protect from accidental operation during a show The GL2800 provides 6 stereo inputs in a compact format Together with the 2 mics the stereos provide for a host of space saving applications Standard Mono Microphone Channels Mono mic input through the stereo channel with 4band EQ auxes and full routing True Stereo Microphone Channel For example use short jack leads to patch both MIC OUT breakpoints into the stereo line input of one channel Set the stereo line level control on this channel to its OdB position Adjust the gain and balance between the left and right microphones using the two mic GAIN controls The other channel can be used as a stereo effects return sound effects or other line source Mixing Two Microphones through One Channel Patch one MIC OUT into the other channel stereo L M input On that channel turn up the mic gain control to add its own mic and the stereo line level control to add the patched mic Patchable Microphone Preamplifier Plug into the MIC OUT breakpoint to disconnect the mic preamp from the channel and patch it elsewhere to be used independently
46. et each item within the system path to operate at its nominal level We advise that the speaker processor or amplifier trims are set so that the console outputs can drive up to their nominal 0 level It is a common mistake to set amplifier trims to maximum sensitivity when this results in the console master faders being operated at very low positions with low meter readings and reduced dynamic range and therefore audible residual system hiss 25 EE A PINK NOISE a 1kHz OSC no 0M WW m AUX 9 10 LATCH TALK N Q e PFL d N pa IAN PK E 3 6 0 SW x 0 SIG 26 Using the Oscillator Noise Generator The GL2800 includes a useful signal generator able to produce a pure 1kHz sine wave tone or a pink noise test source This is invaluable in testing the system components and setting up correct gain structure The generator can be routed independently to the various console outputs Use the 1kHz tone to line up the connected equipment For example a recorder video camera or broadcast feed from the matrix Route the tone to the matrix Set the matrix LEVEL control to its 3 o clock O position Press the matrix AFL and adjust the oscillator level until the console monitor meters read 0 Next adjust the recorder input trim so that its me
47. ew multiple stereo mix capability Tamperproof recessed switches configure the console safely for optimum FOH or stage monitor operation or for mixing monitors from FOH In FOH mode you get 3 main mix buses L R and M You can use M to feed the C in an LCR system to create a mono fill by summing L and R or even drive a sub bass speaker system In MONITOR mode the M fader becomes the engineer s monitor wedge control you get all 10 aux masters available on faders with mutes inserts meters and electronically balanced XLR drive and you still get the 8 subgroups to LRM and the groups LRM feeding the matrix for yet more mixes The fully featured 12x4 matrix is a valuable addition For example in FOH mode you can create independent fill speaker and acoustics compensated recording feeds even capturing the atmosphere by cross patching the stereo channel mic preamps into the matrix to add individual or common mono or stereo ambience signals In MONITOR mode the matrix gives you more monitor outputs easily created from the groups and LR with added more me and ambience for the in ear application This compact console can feed up to 14 independent mixes for example 8 wedges and 3 true stereo IEM We have also considered the RECORDING application with direct outputs on all mono channels 8 groups matrix and not least the studio quality analogue mic preamps and EQ Whatever your application you get full control with nothing wasted Attention to detail In
48. ground music The L input normals through the R socket for plugging in a mono source on a single jack MONITOR OUT These impedance balanced line level TRS jack outputs follow the post level monitor signal Separate sockets are provided for the L and R signals Use these to feed local speaker or other monitor systems SYS LINK V2 OPTION Blank plates are fitted here as standard The GL2800 Sys Link V2 version 2 input output option kit is available from Allen amp Heath Refer to OPTIONS later in this guide 15 7 GRP AUX REVERSE The MONO Input Channel EN 48V POLARITY M1 M2 M3 M4 16 48V Switches 48VDC to the channel input XLR for powering microphones or DI boxes that need phantom power The power is current limited through 6k8 ohm resistors to pins 2 and 3 A WARNING Do not connect unbalanced sources or cables to inputs with phantom power selected To avoid loud clicks always mute the channel before switching 48V on or off and when plugging or unplugging microphones POLARITY Reverses the polarity and connections of the input source Useful when using the above below mic technique for example when miking a snare drum with two microphones or for correcting mic placement and cable wiring errors LINE PAD Press this switch to select the channel TRS jack LINE input Release
49. he console is to be operated in a flight case plinth or other furniture ensure that it is constructed to allow adequate ventilation Heat and vibration Do not locate the console in a place subject to excessive heat or direct sunlight as this could be a fire hazard Locate the console away from any equipment which produces heat or causes excessive vibration Servicing Switch off the equipment and unplug the power cord immediately if it is exposed to moisture spilled liquid objects fallen into the openings the power cord or plug become damaged during lightning storms or if smoke odour or noise is noticed Refer servicing to qualified technical personnel only Installation Install the console in accordance with the instructions printed in this User Guide Do not connect the output of power amplifiers directly to the console Use audio connectors and plugs only for their intended purpose GL2800 User Guide 3 General Precautions 9 Damage To prevent damage to the controls and cosmetics avoid placing heavy objects on the control surface scratching the surface with sharp objects or rough handling and vibration Environment Protect from excessive dirt dust heat and vibration when operating and storing Avoid tobacco ash smoke drinks spillage and exposure to rain and moisture If the console or its power unit becomes wet switch off and remove mains power immediately Allow to dry out thoroughly before using again Cleani
50. here and audience reaction to a recording or monitor Compensate for an acoustically loud backline by boosting selected groups in a live recording For more information refer to Operating Tips later in this guide EXT IN Mixes in an external nominal OdBu line level source The rotary provides 6dB boost Note that EXT IN jack sockets are normalled linked in a way that lets you plug in a mono or stereo common source to feed all the matrices or an independent source to each Plug into EXT1 only to feed one source to all four matrix EXT IN controls Plug L into EXT1 and R into EXT2 only to feed a stereo source to matrix 1 2 and 3 4 MATRIX EXT IN IN1 IN2 IN3 INA Some examples include adding ambience sources to recordings and in ear monitoring adding a direct output or an aux mix to quickly create a monitor from the main mix plus selected channel s and linking in another console to feed the same PA in a festival or other dual console situation GRP 1 8 Mixes in the post fader post mute group mix The rotary provides 6dB boost L R M Mixes in the post fader post mute main LR mix The rotary provides 6dB boost Turn up both L and R to create a mono sum from the stereo LR mix Turn up L in one matrix R in another to create a stereo output from two matrices LEVEL The master level control fader for the matrix Provides 6dB boost above the normal 0 setting MUTE When pressed the matrix output is turned off The red indi
51. ication The GL2800 uses the well proven and long term serviceable Allen amp Heath method of individual channel card construction with every potentiometer nutted to the front panel a solid steel chassis with rigid beam front extrusion 100mm smooth travel faders with protective dust covers metal bodied jacks and gold plated Neutrik XLRs and sealed Alps pots and switches to ensure you can mix with confidence show after show The external linear power supply has plenty of overhead You can even plug in a second supply as a backup for added security Performance The GL2800 benefits from our latest circuit developments which have improved the sound and responsiveness of the mic preamp and EQ and achieved astonishingly low residual noise from the mix head amp and output stages crucial when mixing into modern high powered speaker systems The new mic preamp maintains ultra low distortion and can accept as much as 34dBu to deal with the hottest signal you are ever likely to plug in The XLR outputs provide proper differential drive up to a massive 26dBu to work with the longest and most hostile cable environments Extensive listening evaluation together with solid engineering practice have ensured the console achieves accurate sound reproduction under all conditions Capability We know a thing or two about Dual Functionality having pioneered this innovative feature back in the early 90 s The GL2800 takes this an important stage further with its n
52. ir in stereo For example press MTX1 to listen to a mono fill mix or press MTX1 and MTX2 together to listen to a stereo B recording mix MONITOR Monitor Selection with all select switches in the up position no source is monitored unless PFL or AFL is activated Press a switch to select the required monitor source Press two together to select stereo as described above Switches nearer the faders take priority For example press L R to listen to the main mix Then press 2TRK to override the L R source until it is released GL2800 User Guide 23 TALKBACK and SIGNAL GENERATOR TALKBACK Individually assignable talkback is available to all the main outputs Plug in a suitable cable or gooseneck microphone A good quality dynamic or condenser vocal microphone is PRONES recommended Note that 48V phantom power is available at the XLR as standard If you prefer this can be disabled by repositioning an internal jumper link A WARNING Do not connect unbalanced sources or cables to Q inputs with phantom power selected To avoid loud clicks do not EE press the TALK switch when plugging or unplugging the talkback microphone cda TALKBACK enable First select the source you wish to talk to Power You can select the auxes in logical groups useful for communicating us with the performers on stage The matrix can be
53. jacks gold plated XLRs sealed pots and switches e Individual circuit card assembly with nutted pots e Solid copper bus grounding e Sys Link V2 console linking option e 4 pin XLR lamp sockets 8 GL2800 User Guide Here are just a few key points we considered when specifying the GL2800 Affordability We understand your need to work within a realistic budget and know you want to get the very best return for your investment We know too that even the lowest budget shows put the same tough demands on the operator who wants the reassurance of continued reliability and intuitive control the satisfaction of achieving that special sound and the functionality to deal with the trickiest situations We have avoided the temptation of designing in costly plastic trims and needless external add ons for styling only Instead we have invested every penny of our budget into parts that make a real difference in improving performance durability and flexibility of use whether the comfortable soft feel armrest the practically shaped space saving steel chassis the wide viewing angle meter design the exceptional feature set or the under the bonnet engineering such as the solid copper grounding strip individual cards circuit enhancements and more The result is a no nonsense durable mixing tool right for its application a sensible investment Reliability Without doubt the most important quality for any equipment intended for the professional appl
54. kup very useful if you are creating in ear IEM mixes Use two matrices to create stereo monitor feeds Combining Two Consoles into a Single PA In a festival situation you may have a support band wishing to patch in their own console One way to do this is to feed the PA from a pair of matrices and then use EXT Inputs to combine the external console with the main LR mix 30 GL2800 User Guide 8 GRP AUX 7 GRP aux 6 GRP aux 5 GRP aux 4 AUX yet Ye GL2800 User Guide Vig MEN N Y A WH SCH YZ NN ip NI AU AUX erp AUX erp AUX cre AUX gp AUX en gt nes 3 2 A 1 z EE NN le Ji Y i W spp INSERT GRP AUX REVERSE E RP AUX RP AUX USE 0I ALLEN A Create IEN Mixes with Ambience In Monitor mode the matrix continues to be fed with the 8 groups L R and M mixes You can use these to create additional independent monitor mixes Together with the auxes these give you as many as 14 mixes Create mono or stereo in ear monitor feeds using single or paired matrices for example MTX1 2 and 3 4 You could use LR to start with a basic stereo mix then add up to eight instrument or more me groups Add ambience using a pair of jack leads to patch the stereo channel MICs into matrix EXT IN 1 and 2 With nothing plugged into EXT IN 3 and 4 the two mic signals are automatically linked across making the s
55. l matching of the signal through the audio system chain Each item in the equipment chain has its own optimum nominal operating level determined by its electrical circuits If you overload it with a signal that is too high then its output tries to produce more voltage than its power rails can provide resulting in harsh sounding distortion as the audio signal is clipped If you work with a signal that is too low then you are likely to hear the residual hiss of the circuits as the noise floor is amplified along with the signal The optimum operating level is the point at which the signal is high enough above the noise floor so that the hiss is not heard good signal to noise ratio the SNR yet provides enough space headroom before clipping to allow for the louder dynamic musical moments without distortion Dynamic range specifies the maximum range between noise floor and clipping It is the sum of the SNR and headroom The larger the figure the better less noise more headroom more forgiving to wide ranging signals A microphone produces a very tiny signal for example 50dBu a few millivolts This should be amplified by the channel preamp to the optimum operating level of the console circuits around OdBu 0 775V well clear of the noise floor typically less than 90dBu and with good headroom typically clipping at greater than 20dBu With a Channel routed at unity gain from preamp input to main output the
56. l sides using suitably thick shock absorbent foam intended for this purpose Ensure no part of the case or its lid touches the controls or connectors If you include a rear doghouse to house the connections make sure the cables can be supported in a way that prevents putting stress on the console connectors To prevent transit damage through inadequate protection we recommend you have the flight case supplied or approved by a professional specialist equipment case manufacturer Do not obstruct the heatsinks or ventilation openings on the power unit Ensure adequate air flow around its surfaces To avoid audible hum buzz or other performance degradation do not place equipment that radiates strong electromagnetic fields such as the power unit other mains power supplies amplifiers and computers next to or directly underneath the console GL2800 824 944 GL2800 832 1171 GL2800 840 1398 GL2800 848 1625 rm GL2800 856 1852 a MONO MONO MONO MONO l P x 6 MASTER MONO MONO MONO INPUTS x 8 INPUTS x 8 INPUTS x 8 ST I P x2 SECTION INPUTS x 8 INPUTS x 8 INPUTS x 8 UA AA 10 GL2800 User Guide Connecting Power USE ONLY THE RECOMMENDED ALLEN amp HEATH POWER SUPPLY RPS11 ALLEN amp HEATH o o DC POWER IN DC POWER IN i y A B BACKUP A m
57. ld be adjusted to read an average 0 mor si with loudest peaks reaching around 6 EN 3 EN M e be Use the MONITOR level control to adjust the level in the headphones mm e be and local speaker monitor We recommend you use closed ear L R mm o mm headphones in the range 30 to 600 ohms designed for live sound EN monitoring 100 ohm headphones are a popular choice E Three headphones sockets are provided for convenience One 4 O on standard TRS is at the front under the armrest a second at the top MONITOR y near the talkback mic A small 3 5mm socket is also provided for PS plugging in headphones or earpieces fitted with a mini jack It is useful 9 to monitor an in ear mix using the same type of earpiece as used by 12 R the performers AUX m A sd mS WARNING To avoid damage to your hearing do not AUX ILR operate any close to ear monitoring such as headphones for long 98 periods at high volume Continued exposure to high volume AUX FH omg sound can cause frequency selective or wide range hearing loss a LATCH MTX1 TALK S Stereo Monitoring The GL2800 has been designed to offer EN La M maximum capability for working with multiple stereo mixes such as EE IEM and recording feeds It is important to be able to hear exactly MIX what you are sending from the console Press AUX 9 10 to check the c stereo aux mix Press one switch to check a matrix in mono two to L MX check a related pa
58. llows the LR mix You can adjust the balance to compensate for the acoustic sound in the room using the groups and even add audience ambience described later Remote Broadcast Create a mono or stereo feed as described above Use the tone generator to send a slate signal to the destination for line up di Zone Feeds Send independent relay feeds to additional locations such as the foyer dressing rooms cry room balcony and so on You can use the groups to adjust the balance to suit the destination for example to boost the orchestra against the vocals Feed the output through an EQ to tune the speaker for the local acoustics m VI 8 Mt 9 Delay Fill Speakers Use the matrix to feed additional fill speakers for distributing the sound more evenly around a large venue for example centre fill stage front fills under balcony or rear fills or mix island 2 PINK NOISE delay tower at a festival To aid intelligibility for the nearby listeners without moving their focus from the stage the send should be delayed a using an in line delay processor As a rule of thumb delay 1mS per n foot difference between the listener and the fill and the listener and the ILA main speakers Now add a few milliseconds Haas effect delay so the listener hears the main speakers slightly before the fill Keep
59. m PRE am PRE am PRE am PRE am PRE am PRE AUX y Ly AUX y Ly AUX y Ly AUX vty AUX y Ly AUX y Ly AUX y Ly AUX y ly 5 X b Y 5 Y e 5 y v 5v ow Di NE 5y xv 57 Y pi pe pa m Le pe pa pa SE NS Ao M AH NS UA AS Da SU IN o Ve ai Ve o Ve ai e o Ve Em 0 M6 6 AUX y ly AUX y ly AUX v ly AUX yl 7 AUX y ly AUX yl AUX y ly AUX L 6 v v 6 v v 6 v v 6v v 6 v v 6 v 6 v Y 6 ww ALLA ALA ALA ALA ALA NS ALA LA o Ve ai Ve ai M6 o M6 o Ve Nm o M6 im AUX y ly AUX yl 7 AUX yl 7 AUX yl 7 AUX yl 7 AUX ly AUX V 57 AUX y 71 Y e 71 Y xr 7 s W 71 Y f 71 Y s e 1 Ne TY Ne 7 zl m la a A P m m m A a A JN A JS A DN A ZN J N JS en A 58 A A IN AN N AN m 6 0 6 00 6 00 6 00 6 6 o 6 6 AUX y ly AUX y ly AUX y AUX y AUX y Ly AUX y Ly AUX y Ly AUX y Ly Qo AN By ya By ya By yx E e AA AA A A A A AA A AA A m 6 0 6 00 6 6 00 6 6 o 6 6 A POST am POST Am POST A POST m POST m POST am POST m POST am PRE am PRE am PRE am PRE am PRE am PRE am PRE am PRE AX yl AX vl AX yl aux yl AUX vl AX y L AUX y Ly AX yl 9 10 Ke 9 1 0 Ne 9 1 ov NE 9 1 ov 9 10 Y 9 10 Ke 9 107 ke 9 107 ba ALLA A A STEREO JA STEREO JA STEREO AN STEREO IA STEREO mo CN _ 6 CN m PAN yl pan S PAN S PAN y Ly M d SE xr Ne M Ne PX d AL os PES AR 3 x LKR LKR LKR LKR AR LA m POST A POST m POST A POST am PRE am PRE am PRE am PRE A AAA GA TORINO PAN S T E ACA A A AN LZ NR NR L4 NR NR ODD EVEN EVEN O
60. main PA C mix or sub bass speaker mix other examples include L R sum mono fill additional mono zone feed mono recording mono PA with LR providing two more subgroups to M engineers PAFL wedge feed and more Using the channel Direct Outputs Recording Default factory setting is pre fade so that your live fader mixing does not affect the recording Use the channel recessed PRE EQ switches to select either post EQ or pre insert pre EQ for your recording Post EQ lets you use the EQ for source correction affecting the recording too Select pre EQ if you do not want your compressor and EQ to affect the recording Monitor mixing You could also patch DIR OUT into a matrix EXT IN to add a more me channel into a monitor send created from the groups and LR If preferred you can reconfigure the direct outputs to post fade by setting internal jumpers Single effects Use post for feeding an effects processor with one source only for example a dedicated reverb on lead vocals or snare GL2800 User Guide STAIN ST3IN LM AS UM 4 E ST2IN LN MUTE GROUPS E GL2800 User Guide Using the Stereo Channels The two full feature stereo channels and the two dual stereo returns present a unique flexibility The channels each include a patchable mic input and a stereo line input The returns each include two stereo inputs which can be mixed together or used s
61. mbient sounds in stereo for example reverb returns keyboards and special effects Where the speakers are widely placed you can reduce the stereo image by reducing the amount of panning to each side Whatever image you create it is important that you listen to the results and consider the listeners at all positions in the room Zero the console Before starting the sound check it is good practice to zero the console by setting all its controls to a sensible starting condition Check that the mode switches are correctly set for your application Set all GAIN EQ and PAN controls mid FADER AUX and MATRIX controls off TALKBACK and OSC NOISE levels off and all switches up Make sure the osc noise generator is turned off Cue Sheets are provided at the rear of this user guide for you to copy and log your control settings This can also be downloaded from our web site Turning the system on and off t is good practice to e Turn the amplifiers on last and off first e Mute channels before plugging cables unplugging instruments and switching phantom power e Let equipment which has been stored in a damp or cold place acclimatise in the venue first before powering it up e Power up the system in plenty of time before you start the sound check or show Sound levels The ear is a delicate instrument Do not subject yourself or any listener to long periods of loud sound particularly with extreme equalisation This may result in frequenc
62. nal RPS11 backup supply 40 48 56 1398mm 55 1625mm 64 1852mm 73 41kg 90 2lbs 47kg 103 4lbs 53kg 116 6lbs GL2800 User Guide GL2800 User Guide Connections Mono channel XLR balanced pin 2 hot TRS balanced tip hot Total gain range Pad out MIC Pad in MIC or LINE Max input level Sensitivity 60 to 14dBu Sensitivity 40 to 14dBu 74dB 2k onm gt 10k ohm 20dB attenuation 34dBu XLR phantom power 48V on off Stereo channel Mic in Same as mono channel Stereo in TRS balanced gt 10k ohm 16 to 20dBu Stereo return ST1 3 TRS unbal gt 10k ohm 16 to 20dBu ST2 4 TRS balanced gt 10k ohm 16 to 20dBu Talkback mic XLR balanced pin 2 hot Phantom power Sensitivity 50 to 10dBu Internal jumper 48V fitted 2 track return TRS unbalanced gt 4k ohm 2dBu 2 track send TRS impedance balanced lt 75 ohm 2dBu Inserts Channel TRS tip send ring return OdBu Output TRS tip send ring return 2dBu L R M outputs XLR balanced pin 2 hot Group aux out XLR balanced pin 2 hot Aux 1 10 output TRS impedance balanced Electronic balance option Direct out TRS impedance balanced Matrix out TRS impedance balanced Electronic balance option lt 75 ohm 4dBu 26dBu max lt 75 ohm 4dBu 26dBu max lt 75 ohm 2dBu 20dBu max lt 75 ohm 4dBu 26dBu max lt 75 ohm OdBu 20dBu max lt 75 ohm 2dBu 20dBu max lt 75 ohm 4dBu 26dBu max Headphones TRS tip L ring R 30 to 60
63. ncy bands Use EQ IN to compare the sound with the equaliser switched in or out of circuit HF and LF are shelving filters which affect high frequencies above 12kHz and low frequencies below 80Hz respectively HM and LM are bell shaped peak dip filters which affect frequencies around a centre point which can be swept from 500Hz to 15kHz and 35Hz to 1kHz respectively These have a width Q of 1 8 which provides effective control for both creative and corrective equalisation The EQ curves shown opposite display the signal level response at maximum boost and cut as the frequency varies from low 20Hz to high 20kHz All bands can be boosted or cut by up to 15dB and have a centre detent OdB position The overlapping frequency ranges let you deal with challenging source problems easily using combinations of bands Check that you are using the best microphone type and placement before using the EQ Start with the EQ set flat and apply only as much boost or cut as is really needed When dealing with problem frequencies cut rather than boost where possible GL2800 User Guide HPF 5 0dB 20 25 30 35 20 50 100 200 500 1k 2k 5k 10k LF HF 50 100 200 500 1k 2k 5k 10k HM
64. nd an engineer s output The groups and LRM mix are still available via the matrix to provide yet more monitor feeds from the 4 matrix outputs MATRIX EXT IN MATRIX EXT IN IN1 IN2 INS r OUT 2TRK IN MONITOR a DI gt GL2800 User Guide 4 E M wenes TB GEN AUX 1 AUX rp Ali ene AUX cr AUX erm AUX crm AUX cre AUX arp AUX grp DAS OUT 9 8 gt 5 4 3 2 1 A GRP Aux 7 GRP AUX 6 GRP AUX 5 GRP aux 4 GRP AUX 3 GRP AUX 2 GRP AUX 1 GROUP L R M OUT electronically balanced XLR These produce the professional standard 4dBu when the meters read 0 and provide up to a maximum 26dBu The L R and M outputs typically feed the house PA system in live sound mixing or 2 track and mono recorders in studio mixing In monitor mode these outputs reverse with the Aux TRS jack connections The main console mix outputs are on AUX OUT 1 10 Each aux send is available on an impedance balanced TRS jack operating at 2dBu line level An internal option is available to fit a balanced line driver IC to provide an electronically balanced output operating at 4dBu Note that it is not usual to require this option as the impedance balanced standard drive provides sufficient interference rejection when feeding balanced equipment inputs The aux sends are typically used to feed monitors effects devices such as reverb and delay and for special mix requirements In moni
65. ng Avoid the use of chemicals abrasives or solvents The control panel is best cleaned with a soft brush and dry lint free cloth The faders switches and potentiometers are lubricated for life The use of electrical lubricants on these parts is not recommended The fader and potentiometer knobs may be removed for cleaning with a warm soapy solution Rinse and allow to dry fully before refitting them Lifting To avoid injury to yourself or damage to the equipment take care when lifting moving or carrying the console Transporting The console may be transported as a free standing unit or mounted in a purpose built flight case We recommend that the console is surrounded by shock absorbent foam to protect it from damage during transit Always use adequate packing if you need to ship the unit Protect the controls to avoid damage when moving the console Hearing To avoid damage to your hearing do not operate any sound system at excessively high volume This also applies to any close to ear monitoring such as headphones and IEM transducers Continued exposure to high volume sound can cause frequency selective or wide range hearing loss A Important Mains plug wiring instructions The console is supplied with a moulded mains plug fitted to the AC mains power lead Follow the instructions below if the mains plug has to be replaced The wires in the mains lead are coloured in accordance with the following code TERMINAL WIRE COLOUR L LIVE B
66. nings printed here and on the console Follow the operating instructions printed in this User Guide Do not remove cover Operate the console and power units with their covers correctly fitted Disconnect mains power by unplugging the power cord if the cover needs to be removed for setting internal options Refer this work to competent technical personnel only Power sources Connect the console to a mains power outlet only of the type described in this User Guide and marked on the rear panel Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the console If the provided plug does not fit into your outlet consult your service agent for assistance Power cord routing Route the power cord so that it is not likely to be walked on stretched or pinched by items placed upon or against it Grounding Do not defeat the grounding and polarisation means of the power cord plug Do not remove or tamper with the ground connection in the power cord A WARNING This equipment must be earthed Water and moisture To reduce the risk of fire or electric shock do not expose the console or its power units to rain or moisture or use in damp or wet conditions Do not place containers of liquids on surfaces where liquid may spill into any openings Ventilation Do not obstruct the power supply heatsinks and ventilation slots or position the console where the air flow required for ventilation is impeded If t
67. nnels provide PFL pre fade listen so that each source can be checked using the meters and headphones before you bring the fader up You can even use PFL while the channel is muted to prevent the signal reaching the house and monitor speakers until you have checked it and are ready All the main and aux outputs provide AFL after fade listen so that you can check the exact level leaving the console Once again the AFL switch gets its source before the output mute switch so that you can check the signal before you send it to its destination This can be very important when you are feeding remote destinations such as broadcast and recording The Decibel the Bell is the unit of sound level Decibel is 1 10 Bell a more conveniently sized unit dB 20 log Vo Vi where Vi and Vo are two signal voltages in and out ignoring the impedances The dB is used to express the relationship between two levels chosen because of the logarithmic way our ears respond to sound The dB relates one level to another For example a preamp with a gain of 40dB 100x would produce an output of 10dBu for an input of 30dBu Several audio standards exist to relate a signal level to a known reference Audio engineers need to deal with a variety of equipment standards for example a 10dBV CD player plugged into a console with 4dBu outputs connected to a OdBu input DSP speaker manager or an operator using an SPL sound pressure level meter to measure
68. o zero ohm resistor links next to the IC socket This removes them from the circuit Now simply plug the option IC into the socket Observe the correct IC pin1 orientation and make sure its legs are correctly aligned with the socket Test the output once the work is complete You should measure the same level but opposite polarity signal between hot and ground and cold and ground Sys Link V2 input output option A blank plate is fitted in both positions as standard This may be replaced with optional cards which provide the console inputs outputs and PFL system on pairs of 37way D connectors for linking to other Allen amp Heath consoles already fitted with Sys Link V2 The GL2800 can become an input channel expander slave or have its number of input channels expanded master when linked to other consoles Two 37way cables are required to link the GL2800 with another console The 37way shielded multi core cable carries the balanced line level mix signals and PFL AFL system to or from the other console IMPORTANT Note that you need 37 to 25way adapter cables if you are connecting Sys Link V2 Version 2 to the older Sys Link V1 Version 1 standard For full details please refer to the Sys Link option Applications Note AP6284 and Fitting Instructions AP6159 39 Cue Sheet 1 of 3 GL2800 Copy and use this page to record your console settings Zz 7 GL2800
69. owering INPUT MIC TIP IN 3 RING IN I A WARNING Do not connect unbalanced sources or cables to the XLR input when 48V phantom power is selected To avoid loud clicks always turn the channel off by pressing MUTE when switching 48V on or off and when plugging or unplugging cables STEREO CHANNEL MIC IN Each stereo channel features a mono microphone XLR input and an independent stereo line input The balanced MIC input accepts a maximum 14dBu and can be switched to provide 48V phantom power STEREO CHANNEL MIC OUT The output of the mic preamp is available on the MIC OUT BREAKPOINT TRS jack socket This is impedance balanced and operates at a nominal OdBu line level Plugging into this socket breaks the signal into the associated stereo channel This means that the mic preamp can be used independently of the channel for example to create an ambience mic feed for recording or as a preamp for an RTA measurement system STEREO CHANNEL LINE IN These inputs are balanced on TRS jacks The L input is normalled through the R socket to accept mono signals on a single jack INSERT A single 3 pole TRS jack carries the unbalanced insert signal for each mono channel and main mix output Tip send Ring return Sleeve common ground The channel inserts are post HPF pre EQ and operate at OdBu The group aux and LRM mix inserts are pre fader and operate at 2dBu Use these to patch in line level signal processing equipmen
70. py and use this page GL2800 to record your console settings LAR 72 48V POLARITY LINE 48V 48V 48V 48V 48V 48V POLARITY POLARITY POLARITY POLARITY POLARITY POLARITY LINE LINE PAD LINE PAD Ned 40 HPF HPF HPF HPF HPF HPF ZO STEREO 5 ST Ci N N30 2 Y A A A j 5 PA O yJ ajA j A gy 15 i is eu J do t LI Lon 6k 4 4 m POST m POST m POST m POST m POST am POST am POST m POST PRE PRE am PRE am PRE PRE PRE PRE PRE AUX y ly AUX yl 7 AUX y Ly AUX y Ly AUX y Ly AUX y Ly AUX y Ly AUX y Ly 5 M N 5 M Ne 5 M I 5 M ES 5 M I 5 M e 5 NA IZ 5 M e D n 00 o Mo Did Mo AUX v ly AUX x Ly AUX yl 6v Y 6Y Y 6Y Y a pa pa m A p IN nm AN IN o Mo o 6 AUX y ly AUX vy ly AUX V ly p X 71y X 1y x pa A AL N o An o Ae o Ve AUX 1 AUX vty AUX v Ly PY X 8Y Y pa x e A p No se M o Vie Di Mo A POST A POST PRE PRE aux yl AX yl my G ut y LA A LA A LA A STEREO N STEREO x STEREO Y N 6 00 6 00 6 Am POST Am POST m PRE NR AR LZ NR EVEN EVEN ODD EVEN J POST POST am PRE M Am Vs MUTE MUTE MUTE Hi 6 0 SIG C SIG H 10 M M M 5 Lg
71. round from all points in the system including microphone bodies turntable chassis equipment cases rack metalwork and so on Connecting the power supply Connect the DC power lead between the socket labelled DC OUT on the RPS11 and the socket labelled DC POWER IN A on the GL2800 Switching the console on and off It is good practice to turn power amplifiers off before switching the console and any other connected equipment on or off This prevents any unexpected clicks or thumps when the equipment is powered up A Turn amplifiers and powered speakers on last and off first Turn the console on and off using the power switch on the front of the RPS11 there is no separate ON OFF switch on the console itself The blue power indicator LED on the console front panel will illuminate to show that the console is switched on Connecting a backup supply A second power socket labelled DC POWER IN B BACKUP is included for plugging in an optional backup power supply This provides the reassurance of power supply dual redundancy a feature usually found only on expensive top end consoles The console uses diode combining technology so that both supplies can be powered at the same time One will automatically take over should the other be switched off or stop working The recommended backup supply for the GL2800 is a second RPS11 A Only use the recommended Allen amp Heath power supply unit Do not attempt to modify any other power uni
72. roups and LR are the main outputs while in Monitor mode the aux mixes become the main outputs e The REV switch swaps the group or L R master controls with the related aux master so that you have full fader control of the appropriate main output complete with mute AFL and LED bar meter e n Monitor mode the aux outputs are routed to the console main XLR sockets for electronically balanced drive with inserts for patching in processors such as graphic EQ limiters and delays e Channel pre post switches and link options are important In Monitor mode it must be possible to switch all auxes post for channel fader mastering For Monitors from FOH the pre insert pre EQ or post EQ option is needed Note that per channel pre switching is best as you may occasionally need to mix in some post sources such as radio mics and sound effects e In Monitor mode the groups continue to feed the sub grouping to LR so that you can still work with grouped level control to the main mix e n Monitor mode the groups and LR continue to feed the matrix so that you can create independent mixes in addition to the auxes for special feeds recording and further mono or stereo in ear monitors e In Monitor mode the M output becomes the engineer s listen wedge feed providing the PFL AFL mix It gives the engineer identical fader control and XLR drive for all wedges including their own e In both modes assignable talkback is provided e The matrix has a us
73. semblies For user convenience pluggable jumper links are used in most places A Do not adjust the user options while power is applied to the console Do not remove or tamper with the internal power unit its cover or wiring Remove the base Switch off power and unplug the power unit and all the cables Invert the console on a flat clean well lit surface Use Torx star head screwdrivers to remove the screws holding the base to the chassis Use a T15 driver to remove the set of 6Bx5 16 screws holding the base to the rear and underside of the chassis Carefully lift off the base Configure the internal options Fit any options required referring to the instructions provided Set the option jumpers to the required positions Make sure they are pressed fully home Check that all channels are correctly set and all options fitted according to their instructions Make sure that no debris or parts are left loose inside the console Refit the base Carefully reposition the base Refit the fixing screws IMPORTANT Check carefully that all channel jumpers are correctly set as required Errors on one or more channels now may cause user problems later We recommend that you write the repositioned jumper settings on a label and adhere this to the rear panel This would provide a helpful reference to other users of the console
74. stination input are all balanced Balancing provides greatest advantage with low level signals such as those produced by microphones An impedance balanced output provides similar interference rejection but not as much maximum drive capability as the differentially balanced output typically 20dBu versus 26dBu It does not generate a negative polarity signal at its output Instead the wire has no signal but is held at the same impedance as the wire This means that both wires pick up the noise equally resulting in the advantage of noise cancellation as described above when connected to a balanced input stage GL2800 User Guide 13 The Console Connectors INSERT MIC OUT BREAKPOINT ME va INSERT al RETURN LINK RING TO SLEEVE TO UNBALANCE TB GEN OUT LINE IN RETURN LAMP SEND 14 MONO CHANNEL MIC LINE IN The LINE PAD switch selects either the MIC XLR or the LINE TRS jack as the input source The XLR is normalled through the TRS jack so that it can be used for microphone or line level signals when nothing is plugged into the jack socket This gives the channel preamp a massive headroom with 34dBu maximum input capability using XLR or jack Both inputs are balanced but can be wired to work with unbalanced signals when required The MIC XLR can be switched to provide 48V DC via 6k8 ohm resistors to pins 2 and 3 for microphones such as condensers which require phantom p
75. t such as compressors outboard EQ delay units and so on The wiring of a suitable cable is shown in the diagram DIRECT OUTPUT Each mono channel direct output is available on an impedance balanced TRS jack providing a line level signal operating at OdBu The source is set using an internal option jumper for each channel The factory default setting is pre fade following the pre post EQ setting This may be changed to post fade if preferred TB GEN OUTPUT use this to provide an external talkback feed or to access the console 1kHz oscillator pink noise generator You can patch this into other inputs or equipment as a test signal LAMP The console has two 4pin XLR sockets to plug in standard 12V gooseneck lamps to illuminate the operating surface when working in a dark environment Only use lamps intended for this purpose We recommend the Allen amp Heath LEDlamp with cool white LED illumination and a built in dimmer GL2800 User Guide Operating Modes In FOH mode LR and M feed the main PA Groups outputs 1 8 may be used for multitrack recording zone feeds and so on or simply left unconnected where they are used as subgroups to LRM for level masters processing and or inserted In monitor mode Groups 1 8 and LR XLRs and inserts become the 10 aux mix masters Stereo Aux 9 10 is available on the LR XLRs M becomes the engineer s listen wedge AFL PFL feed This configures the console with 10 main stage monitors a
76. t to work with the console Do not attempt to modify or extend the DC power cable that comes with the supply GL2800 User Guide 11 INPUT XLR female socket OUTPUT XLR male socket PIN 2 HOT RCA phono jacks 1 BALANCED ground 2 hot Female XLR plug UNBALANCED 1 3 12V XLR male plug UNBALANCED 2 o E D E o DC oO INPUT OUTPUT B HEADPHONES UNBALANCED S E fol o x x e o JE S S n o n E ce link Ring to Sleeve sleeve areune a Ring RIGHT INSERT ON Sleeve ground Sleeve ground Te BALANCED Bing Geld UNBALANCED ning Fatum Tip hot Tip send XLR female plug XLR male plug v TT L1 900000000000 es co ral ce Fatitasazi gee 1i5iriii SLtESESSSS5555 cee das gt 55555555 E AE OO OO e e e G a Se oe Si ES eo oO es e 7 en co r ID st CO Nr ei co r tO 10 t eo CN vr ei rz v v v v A v A rr Gi e D OO st ON v rrrrrrrrrro A VALLE LL LPS SS SS SEALS LAG LI I by 9900000000000000000 Y Adapter 2 Outputs to 1 Input No Lf X E wg IVANA 8 nc 0000000 o090000000000000000 AT TTT ITT mem AA A SYS LINK V2 OPTION B 7 nc 6 nc 5 nc
77. ters affecting all monitor mixes PRE EQ Changes the pre fade aux source from post EQ switch up to pre insert pre EQ switch pressed so that inserted compressors and the EQ do not affect the sends when mixing monitors from FOH This affects all auxes set pre fader for the channel The switch is recessed to prevent accidental operation once set Use a pointed object to change the setting PAN Positions the channel signal between L R in the stereo mix and odd even if routed to the groups The centre position mono image is detented for quick resetting MUTE When pressed the channel signal is turned off This affects the feed to the LRM mix pre and post fade aux sends and direct output but does not affect the insert send The red indicator lights when the channel is muted Always mute the channel when switching phantom power or plugging the cables and sources PFL Press PFL to listen to the pre fade channel signal in the headphones and local monitor without affecting the main outputs The console PFL AFL active red indicator lights and the monitor LR meters display the channel signal Selecting more than one PFL at the same time mixes those signals together in the monitor METER A4LED channel meter displays the pre fader signal level SIG lights when a signal level of 12dBu is detected O lights when the nominal OdBu level is reached and 6 at 6dBu PK lights when the channel pre fade signal is within 5dB of
78. ters also read 0 The recorder is now correctly aligned to the operating level of the console Similarly you could match the console LR output to a DSP speaker processor by sending the tone to LR setting the faders for output meters reading 0 and then trimming the processor input for 0 on its meters To prevent a loud tone through the speakers it is best to do this with the amplifiers turned off Use the Pink Noise generator to check the signal routing and loudspeaker response Pink noise is a random signal that contains all audio frequencies and is therefore a very good test source Unlike white noise which has equal energy per Hz and sounds like system or inter band tuner hiss pink noise has equal energy per octave a response that matches the logarithmic way our ears perceive sound You can hear all the frequencies clearly from deep bass through mid to treble This means you can route the noise to a speaker system and quickly hear if one of the sub mid or HF drivers is faulty With the noise sent to several speakers at the same time you can listen for comb filtering effects and the severe phasing effect which indicates that one of the speakers may have its wires reversed Pink noise is also used with an RTA real time analyser when measuring room frequency response Testing a system with pink noise through the speakers is often referred to as pinking the room The GL2800 signal generator is an invaluable
79. the fill D Talkback level about 10dB or so below the main PA sound at that location It wx and may help intelligibility to boost the vocals above the instruments in the alignment fills and to use an EQ to cut the extreme LF and HF frequencies B Hearing Assist It is a growing requirement that venues provide a AUX wonton gt m hard of hearing inductive loop IR or wireless broadcast for the hearing ER dA Qs impaired audience The matrix is ideal for this application as you can m combine a stereo LR mix into mono add groups to help vocal 940 M intelligibility patch in an external ambience source and add processing such as EQ and limiters which may be needed LATCH L R mu 2TRK Additional Monitor Mixes You can use the matrix to create some additional monitor mixes when you run out of auxes this time made CRT up from a mix of the groups LR and external input The LR could be L m SE used to create a general overall balance and then the groups added ws monitoring according to musician preference Groups could be routed from me Lai only channels associated with each musician or traditionally grouped sources The musician could get a balance from say the overall sch stereo mix drums brass keyboards me only and ambience a very MONITOR quick way of mixing You could also use the EXT IN to add ambience pic
80. the switch to select the XLR MIC input The XLR normals through the TRS socket With nothing plugged into the line input the switch therefore becomes a PAD for the mic XLR It attenuates the input signal by 20dB for connection to high level microphone or line sources This gives the mic preamp a 74dB range and headroom of 34dB to deal with the hottest signals GAIN Adjusts the input sensitivity to match the connected source to the internal OdBu operating level of the channel Provides a variable 54dB range from 6 to 60dB gain mic or 14 to 400B line padded mic The gain should be set so that the channel meters average 0 with loudest moments lighting 6 Reduce gain if the red peak indicator lights Important note on setting channel levels Use PFL to set the GAIN controls for correct signal level through each channel The main LR meters provide a high resolution display of the channel signal level Use the faders to balance each signal in the mix To ensure optimum gain structure we do not recommend the practice of setting the faders to 0 and mixing using the GAIN controls HPF Switches in the channel high pass filter This attenuates frequencies below 100Hz by 12dB per octave The filter is pre insert pre EQ Select the HPF to reduce low frequency noise such as microphone popping stage noise and tape transport rumble EQ A responsive 4 band semi parametric EQ equaliser provides independent control of four freque
81. tool for calibrating and testing the system during setup To prevent any unexpected mishaps during the sound check or show remember to disable it by releasing the recessed ON switch once you have finished the testing We also advise that you always start the calibration with the OSC NOISE trim turned fully off so that you can bring it up gradually without the risk of overloading the destination Mixing with faders or gain controls There is a technique used by some operators where they set all the faders to 0 position and balance the mix using the channel gain controls We do not advise this method as the signal to noise ratio and control resolution can be severely degraded In addition it is impossible to mix monitors from FOH in this way as changes to the gain settings affect the monitors too The correct method is to use GAIN to match the source to the operating level of the channel for optimum dynamic range and then use the FADERS to balance each source into the mix With correct system gain structure prime sources such as vocals would have their faders operated around 0 while sources low in the mix such as backing vocals and acoustically loud brass and drums would display their true contribution with their lower fader positions This is a much more visual and accurate way of mixing GL2800 User Guide 4 M N y ONG X EL J SS g Note The stereo Aux 9 10 and matrix 1 4 outputs can be monitored using the monitor
82. tor mode these outputs reverse with the group and LR XLR connections MATRIX OUT 1 4 Each matrix output is available on an impedance balanced TRS jack operating at 2dBu line level An internal option is available to fit a balanced line driver IC to provide an electronically balanced output operating at 4dBu The matrix outputs are typically used for stereo or mono recording or broadcast feeds delay and fill speakers zone feeds additional monitors such as IEM hearing assist loops and so on MATRIX EXT IN 1 4 Each matrix has an unbalanced OdBu line level TRS jack input An external signal such as ambience mix additional or sub mixer remote source reference tone and so on may be mixed in to each matrix The inputs are normalled as shown in the diagram here This means that you can plug in just one jack EXT1 as a common source to all matrix two jacks EXT1 2 as a common stereo source to matrix pairs or four independent sources This is ideal for adding mono or stereo ambience to recordings or in ear monitors fed from the matrix 2 TRACK IN and OUT Unbalanced TRS jack outputs and TRS inputs connect to popular recording and playback devices such as CD MiniDisc computers and tape machines Nominal line level is 2dBu The 2 track SEND always follows the post fade LR mix regardless of mode switch configuration The 2 track RETURN can be used for monitoring a mono or stereo recording or as a simple input for playback of walk in and back
83. true Allen amp Heath form every detail has been meticulously thought through Take for example the compact no frills chassis that gives you a seat saving flight case convenient footprint the provision of individual channel rather than restrictive global pre post aux switching comprehensive talkback the built in tone pink noise generator for system checking full channel and main output metering the multi functional stereo channel and return strips Sys Link V2 console expansion and much more We hope you enjoy being as creative using the GL2800 as our team enjoyed creating it Carey Davies Head of Design and sound guy too GL2800 User Guide 9 Installing the Console The GL 2800 has a space saving compact chassis design This is convenient both in saving seats for the paying audience in a busy venue and in reducing the size complexity and weight of flight casing for on the road use The control surface has a 10 degree slope for optimum visibility during operation The rear connector panel has a split angle design for ease of plugging and unplugging the connectors Free Standing The console has rubber feet fitted for free standing operation on a flat surface Make sure the surface is well supported stable and big enough for the console to sit securely on all its feet Allow enough space behind the console for access to its connectors Flight Casing The console is shaped for easy flight casing Make sure it is supported on al
84. uxes including a dedicated stereo send e 12x4 matrix with full stereo capability e 2Stereo channels each with mic and stereo line inputs e 2extra dual stereos provide 4 summed or independent stereo returns e Proper dual functionality for FOH monitor mixing e Mcan be used for centre mono sum or sub or for engineers monitor wedge e Recording capable with channel direct outputs e Matrix external inputs with level trim and common input capability e Stereo channel mic can cross patch into matrix for ambience e Dual stereo return line inputs can be independently routed to LR e Responsive 4 band 2 sweep EQ e 100Hz channel high pass filters e Individual phantom power and polarity switching e Wide angle 4 led channel meters e Per channel pre post fader aux switching for unlimited flexibility e Recessed pre post EQ aux switching per channel no internal access needed e Internal pluggable jumpers for pre post EQ aux and direct out e Mutes and meters on all fader masters e Assignable talkback to all outputs e 1kHz oscillator pink noise generator with external output e 2 Track monitoring and replay to LR e 3 Headphones sockets including 3 5mm for IEM e Dedicated stereo monitor meters e Electronically balanced XLR outputs with 26dBu drive capability e Preamp 74dB gain range and 34 maximum input capability e Ultra low noise mix head amp design e Uses external linear power supply e Built in combiner for redundant power supply e Metal
85. ved dealers and service agents You can also access our Web site on the Internet for information on our full product range resource downloads our company pedigree contact details assistance with your technical queries or simply to chat about audio To help us provide the most efficient service please keep a record of your console serial number and date and place of purchase to be quoted in any communication regarding this product http www allen heath com http www glseries com Contents Wan anly ana 2 Important Safety Instructions 3 General Precautions 4 Introduction to this Guide 5 Panel Layouts E NNKR ENER 6 Gain Structure Using the Oscillator Noise Generator Introducing the GL2800 snsansupusussRRARRAMS 8 Cd Installing the Console 10 Connecting Power 11 Using Inserts Audio Connections aeeeennnnennnnnnnn 13 Polarity Mixing the PA in Mono or Stereo 28 The Console Connectors 14 Zero the console Mono Input Channel 16 Turning the System On or Off Saida Stereo Input Channel 18 Dual Functionality Stereo Return Channel 19 Applications for the Matrix cas iii Group Aux Masters 20 Using the Matrix to Create a Recording Mute Aux 9 10 and L R
86. within the stereo image MUTE When pressed all the channel pre and post fade signals are turned off except the MIC OUT and any stereo routed direct to LR PFL Press PFL to display the summed L R pre fade channel signal on the monitor meters and listen to it in the headphones and local monitor without affecting the main outputs METER As the mono channel but the left and right signals are summed to display in mono ROUTING As the mono channel but routes the left signal to L and odd groups right signal to R and even groups and sums L and R to feed the M mix in mono FADER The stereo fader provides 10dB maximum boost above its normal unity gain OdB position MUTE GROUPS Assign the stereo channel to any combination of the 4 mute groups by pressing these switches GL2800 User Guide The STEREO Return Channel DUAL STEREO RETURN STEREO 5 GAIN P DirEcTTO LR STEREO 0 GAIN 5 TIN 5 ST4 ER GL2800 User Guide Two additional dual stereo return channels are provided Each has two stereo line inputs which can be mixed together or used separately ST1 and ST3 can be routed directly to LR instead of the return channels This gives you the flexibility of mixing in four more stereo sources in a small panel space ST1 INPUT A level control adjusts from fully off to 16dB gain The L input signal is normalled through the R input socket so that a mono source may be plugged in to feed
87. wn that most audio system problems are due to faulty or sub standard interconnecting leads The following plugs may be used to connect audio to the console XLR female plug TS jack plug D o Sleeve Tip 39 Am XLR male plug TRS jack plug Coco E 4 Sleeve Tip 3 mm Ir 2 Ring Avoid reversing and on balanced connections as this will result in reversed polarity out of phase signals which may cause signal cancellation effects Where long cables runs are required balanced interconnections should be used However line level interconnections between more affordable 2 wire signal ground unbalanced equipment and the console are unlikely to cause problems if the cables are kept shorter than 10 metres or so Refer to the wiring diagrams on the opposite page Dealing with Ground Loops Buzz and Interference For optimum performance all audio signals should be referenced to a solid noise free ground earth point frequently referred to as the star point or clean earth A ground loop is created when potential differences exist between grounds at different points in the system and the signal has more than one path to ground In most cases ground loops do not result in audible problems Should you experience hum or buzz caused by a ground loop check first that each piece of equipment has its own separate path to ground If so operate ground lift switches on connected equipment in accordance with the
88. y selective or full range hearing loss Adhere to the sound level regulations which may apply to the venue and common sense GL2800 User Guide FOH Monitor Protected Aux Reverse Master Control XLR Inserts Pre Post Sub Grouping Matrix Feed Listen Wedge Talkback Dual Functionality Now an industry standard Allen amp Heath pioneered this feature with the introduction of the first GL consoles in the 90s In the past it was necessary to stock two different types of live sound console one for mixing FOH front of house the other designed for mixing on stage monitors With the introduction of a few clever mode switches we changed all that Now the same console can be quickly configured to carry out either task properly and without compromise The GL2800 takes dual functionality a thoughtful stage further with the advent of new engineering practices such as multi media and IEM in ear monitor mixing and computer based live multi track recording The key principles of dual functionality are e The same console can be quickly configured by the operator for proper FOH or stage monitor mixing or as a combination of both for mixing monitors from FOH n either mode no part of the console is redundant Every control and socket can be used for an associated function e To prevent accidental operation during the show the configuration mode switches are safely recessed under the panel e n FOH mode the g

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