ALLEN&HEATH GL4000 Dual Function Audio Mixing Console USER GUIDE PUBLICATION: AP2642
USER GUIDE CONTENTS Warranty ............................................................... 2 Introduction ........................................................... 3 Overview .............................................................. 4 Range and Options ............................................... 5 Dimensions and Weights ...................................... 6 Specifications ....................................................... 7 System Block Diagram .........................................
LIMITED ONE YEAR WARRANTY This product has been manufactured in the UK by ALLEN & HEATH and 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 the high level of performance and reliability for which this equipment has been designed and manufactured please read this User Guide before use.
INTRODUCTION The GL4000 continues ALLEN & HEATH’s commitment to provide high quality audio mixing consoles engineered to meet the exacting requirements of today’s audio business. It brings you the latest in high performance technology and offers the reassurance of over two decades of console manufacture and customer support. This user guide presents a quick reference to the function and application of the GL4000.
OVERVIEW The GL4000 offers the professional user an uncompromised feature set and performance for live sound engineering and recording. The console is available in 24, 32, 40 and 48 channel sizes with an external 3U rack power unit. Options include bolt-on expander module, SYS-LINK interconnect system and 1U dual power supply monitor/combiner unit. Units from Serial Number 403421 include a built-in VU Meterpod as standard. An optional VU Meterpod is available for earlier units.
THE RANGE The following GL4000 models and options are available. For further details please contact your Allen & Heath agent : GL4000-824 - 24 channel console GL4000-832 - 32 channel console GL4000-840 - 40 channel console GL4000-848 - 48 channel console The Stereo models can include mic/stereo line channels dependant on customer specification. The console is supplied with separate power supply, DC power cable and mains cable with moulded plug.
DIMENSIONS AND WEIGHTS Dimensions shown in millimeters. UNPACKED Width Depth Height Wt (kg) GL4000M-824 1166 (46") 748 (29.5") 285 (11.2") 47 (104lbs) GL4000M-832 1421 (56") 748 (29.5") 285 (11.2") 57 (126lbs) GL4000M-840 1676 (66") 748 (29.5") 285 (11.2") 67 (148lbs) GL4000M-848 1931 (76") 748 (29.5") 285 (11.2") 77 (170lbs) GL4000-8M 255 (10") 748 (29.5") 285 (11.2") 9 (20lbs) RPS11 483 (19") 232 (9.1") 135 (3U) 10 (22lbs) RPSD2 483 (19") 180 (7.
SPECIFICATIONS 0dBu = 0.775 Vrms Reference for high level equipment +4dBu = 1.23 V 0dBV = 1 Vrms Reference for low level equipment -10dBV = 310 mV 0VU meter reading = +4dBu at XLR outputs INPUT GAIN Mic/Line Input ................. +6dB to +60dB variable Mic/Line + Pad ............... -14dB to +40dB variable Line Input ....................... -14dB to +40dB variable Stereo Line Input ............ off to +10dB variable 2-track Return ................
MODE SWITCHING Protected underpanel mode switches set the console architecture according to the required application, for example FOH or stage monitor. Select these using a pointed object. DIR OUT routes the channel direct out signal through the aux 10 pre/post selector and level control. OUT REV swaps the matrix or LR2 output jack with the related aux XLR and insert. The control sections are not swapped. This can provide matrix outputs on XLR with inserts, or aux effects sends on jack as required.
SYSTEM DIAGRAM 9
CONNECTORS Professional gold plated connector types are used to ensure continued reliable operation. All the console main inputs and outputs are balanced XLRs. All 1/4" jacks are 3-pole TRS for operation with balanced or unbalanced equipment. Inserts are provided on all channel inputs, and on Groups, L, R, Mono and all Aux outputs.
SYS-LINK EXPANDER OPTION Available as a kit to be fitted to the console to expand the busses. Uses 4 25-pin D-type connectors (input and output A and B). Operates at -2dBu line level. Refer to your Allen & Heath agent for further details. GROUP/AUX/L/R/M INSERT SEND Used to send the output signal to external effects and signal processing equipment such as graphic equalisers, delays and compressors, post-mix amp and pre-fader. 3-pole 1/4" jack socket (tip = hot). Impedance balanced -2dBu 50ohm line level.
METERPOD CONNECTOR Recessed 16-pin dual row header for connection to the meterpod. LOCAL STEREO MONITOR For connection to a stereo amplifier/speaker system for LR, AFL/ PFL monitoring local to the console. 3-pole 1/4" jack sockets (tip = hot). Impedance matched 50ohm 0dBu nominal line level. HEADPHONES Connections for 2 stereo headphones >8ohms. One connector is on the front panel, the other is concealed under the armrest. 3-pole 1/4" jack sockets (tip = left, ring = right).
EARTHING The connection to earth (ground) in an audio system is important for two reasons: 1. SAFETY - To protect the operator from high voltage shock associated with the AC mains supply feeding the system, and 2. AUDIO PERFORMANCE QUALITY - To minimise the effect of earth (ground) loops which result in audible hum and buzz, and to shield the audio signals from external interference.
CONNECTING THE POWER UNIT Connect only the Allen & Heath power unit specified for the console. The standard unit for GL4000 is the RPS11. This is an external 3U 19" rack mounted unit that connects to the console via the separate DC cable supplied. The RPS11 is a low noise linear design that converts AC mains voltage to the DC voltages required to power the console. It also provides +48V phantom power for use with high quality powered microphones.
MATCHING THE SIGNAL LEVELS For best performance it is important that the connected source signals are matched to the "normal operating level" of the console. Similarly the console outputs should be correctly matched to the operating levels of the connected amplifiers and destination equipment. If too high the signal peaks will be clipped resulting in a harsh distorted sound, and if too low the signal-to-noise ratio is reduced resulting in excessive background hiss and noise.
MONO INPUT +48V - Feeds +48V to pins 2 and 3 of the input XLR for condenser microphones which require phantom power. Plug the microphone in before switching +48V on or off. Use +48V only with balanced microphones and cables. No damage will occur when +48V is switched to balanced non-phantom powered transformer coupled dynamic microphones. However, always switch +48V off when connecting line or unbalanced sources.
AUXILIARY SENDS - Route the channel signal to one or more of 10 auxiliary send busses. These are independent from the main outputs and may be used for effects sends and monitor mixes. The sends are grouped 1-4, 5-8, and 910. Each group may be selected pre or post channel fader. A further 6dB of boost above 0dB normal channel level is available on the send control. Use post-fade for effects sends such as reverb. The amount of signal sent to the effects unit follows the fader level and mute switch.
STEREO INPUT The stereo channel has two independent input sections: XLR IN for mono microphone or line input, and STEREO LINE IN on jacks for sources such as stereo keyboards, voice modules and effects returns. When using the channel as a mono XLR mic/line input the stereo line input can be independently routed to L-R for a stereo effects return or additional line input. The XLR inputs on adjacent channels can be patched into a stereo line when using stereo or paired microphones.
M-S STEREO MICROPHONES STEREO MICROHONES This example shows two cardiod microphones arranged as an X-Y coincident pair. This minimises the phase differences which can cause problems when the mics are arranged as a spaced pair. The mic input stages are patched into a stereo line input for single fader control. The second stereo channel may be used for an independent line input.
GROUP MATRIX MASTER - Controls the output of the matrix mix. Adjust LEV to trim the output level to match the connected equipment. ON switches the output on or off, ideal for checking the effect of individual or combinations of speakers in a multispeaker system. AFL lets you monitor the signal post level trim, post insert, but pre ON switch.
THE CONSOLE MATRIX - The GL4000 includes a versatile 11 x 4 output matrix. This comprises four independent outputs each with level control, ON switch and AFL monitoring. Each matrix mix is created from the desired combination of group (x8), L (left), R (right) and M (mono) signals. The level of each source is adjusted using the matrix SEND controls above the main faders in much the same way as the channel aux sends are used. The output is selectable to a TRS jack or XLR with insert.
LR THE CONSOLE LR AND LR2 OUTPUTS - In addition to the main L and R outputs the GL4000 includes a secondary pair of outputs called L2 and R2. These follow the LR mix and may be selected either pre or post LR faders. As with the matrix outputs an OUTPUT REVERSE switch is included on each to swap the L(R)2 jack output with aux 9(10) XLR and to switch in the insert.
MONO 2-TRACK STEREO RETURN - The incoming level can be trimmed from OFF to +10dB gain and routed direct to the LR mix for intermission or recording replay. Monitor the signal post LEV trim and pre REPLAY switch using STEREO PFL which automatically overrides the signal in the headphones and local monitor. AFL/PFL INDICATORS - Large red LED indicators show when AFL or PFL is selected.
THE MONO MIX - The GL4000 includes an independent mix buss for the M (mono) output. Each channel and group can be routed direct to this buss by pressing the related M routing switch. The signal is sourced pre PAN control so that the mono mix is not affected when the stereo mix image is adjusted. The M output can be a different mix to LR. If you want the mono output to be the sum of the L and R mix then use the L(R) TO MONO controls to mix L and R to M.
LAMP CONNECTORS - Two top panel 4-pin XLR connectors are provided for connection to gooseneck lamps. It is recommended that these are the standard 12V 2.5 watt type. THE CONSOLE MONITOR - The GL4000 offers a comprehensive signal monitoring system. Apart from the extensive metering facilities there is a monitor section which operates independently of the main outputs.
THE MUTE SYSTEM Each GL4000 input channel, group, aux send and main output (L,R,M) is provided with a mute switch. This turns the audio signal on or off. The GL4000 provides a 'soft' mute system controlled by a built-in microprocessor which gives far greater control and versatility than the conventional systems found in other consoles. A ramped FET audio element on each channel provides silent muting under control of the microprocessor.
THE MUTE SWITCH Press MUTE once to mute the channel signal. The red LED will turn on. The audio signal will turn off (channel muted). Mute affects the post-fade signal and will also affect the pre-fade signal if the internal option links are configured to do so (factory default setting). Press MUTE again to turn the mute off. TURN ALL CONSOLE MUTES OFF OR ON It is often useful to turn off (clear) all the console mutes or to turn them on (set).
MUTE GROUPS A mute group lets you mute a selected combination of channels with a single key press. Applications include muting unused channels when mixing different bands, muting all channels except 2-track playback during intermission, muting all effects, muting a bank of radio mics during an instrumental number, muting stage mics during scene changes, and so on... The GL4000 includes 8 mute groups controlled by a bank of large buttons to the right of the master faders.
PROGRAM A MUTE GROUP Press EDIT GROUP The red LED will start flashing. This puts the mute system into 'edit mode'. The mute groups are programmed or edited 'off-line'. This lets you change groups during a live show without affecting the mute status of the channels. Press the MUTE GROUP to be programmed. The mute group LED will start flashing. The green SAFE/PREVIEW LEDs below the MUTE switches will indicate which channels are part of the group. Press the channel MUTE switches.
TURN ALL MUTES OFF OR ON IN A GROUP It is often useful to turn off (clear) or turn on (set) all the console mutes within a mute group. This is done in 'edit mode' so that the console mutes are not affected while the group is being edited. TURN OFF OR ON ALL MUTES IN A GROUP Press EDIT GROUP The red LED will start flashing. This puts the mute system into 'edit mode'. Press the MUTE GROUP to be edited. The mute group LED will start flashing.
MUTE SAFES Mute groups, patches and MIDI overwrite the console mutes with the settings held in memory or an external controller. You may want to prevent selected channels being overwritten, for example if you need to repatch mic channels to deal with a cable break during a live show. In this situation it would not be convenient to reprogram the mute groups and patches. Instead you would operate these channel mutes manually until the show ends.
MUTE PATCHES A mute patch lets you store the console mute on/off settings to be recalled with a single key press. This is much like taking a 'snapshot' of the console settings. Mute patches are used extensively for scene or song changes during live performance. The advantage is quick access to complex changes, a growing requirement with the more sophisticated sound control specified today. Patch changes can be linked to external sequencers and effects devices via MIDI for sophisticated show control.
THE PATCH DISPLAY NORMAL MODE Shows selected patch number 0 to 127 or ALL Indicates which patch which will overwrite the console mutes when you press RECALL, or be overwritten when you press STORE. The ACTIVE PATCH dot tells you how the displayed number relates to the current console mute settings: ACTIVE PATCH on : Displayed patch is the last patch recalled. Console mutes are the same as the displayed patch (except for channels made 'safe'). ACTIVE PATCH off : Displayed patch is the last patch recalled.
SCROLL THROUGH THE PATCH NUMBERS The 128 patches are numbered 0 to 127 . Before 0 there is a special patch called ALL . This is described later. ∧ ∨ ∧ ∨ or to increment or decrement to the required Press patch number. Hold down or for fast scrolling to the required number. The ACTIVE PATCH dot will indicate the status of the current console mutes against the selected patch number. See the section on PATCH DISPLAY. STORE A MUTE PATCH Operate the mutes to set up the console as required.
THE ALL PATCH Between patch 127 and 0 is a special patch function called ALL This lets you overwrite all 128 patches with the current console mute settings. You would normally do this before programming the patches for a particular show. Typical use would be : Turn all mutes off in all patches (clear), then edit the mutes on for required channels. Turn all mutes on in all patches (set), then edit the mutes off for required channels. Turn unused channel mutes on before editing the used channels.
QUICKSOLO QuickSolo is a system for checking individual signals or combinations of signals in the mix. This is done by muting all channels except for the channel/s being soloed. It is also known as 'solo-in-place' because the position and relative levels of the signal to all the outputs is retained. QuickSolo affects the main outputs. This should not be confused with the PFL/AFL monitoring system which affects only the monitor outputs.
SOLO SAFES QuickSolo can mute all the console mutes including channels, aux sends, groups and main outputs. To hear the effect of soloed channels the required outputs should not be muted. You may also wish to always hear the effect of signal processing devices such as reverbs connected to the console aux sends and returns. Here, the aux sends and channels allocated as effects returns should not mute when solo is activated.
MIDI The Musical Instrument Digital Interface (MIDI) was originally conceived to standardise the interconnection between keyboards and other instruments. It is now found on all manner of equipment including sound and lighting consoles, effects devices and computers. Sophisticated recording and live sound control is now possible by interfacing sound consoles with other MIDI equipment. The GL4000 includes a full opto-isolated Musical Instrument Digital Interface(MIDI) system.
SELECT THE CONSOLE MIDI CHANNEL Press and hold SHIFT + PREVIEW PATCH together to enter 'MIDI mode'. The display MIDI dot turns on and the current MIDI channel number is shown. While holding SHIFT + PREVIEW scroll through the MIDI or channel numbers using ∧ ∨ Leave the display set to the required MIDI channel number . 1 to .16 Release SHIFT + PREVIEW to exit. DISABLE THE CONSOLE MIDI SYSTEM Enter 'MIDI mode' as above.
CHANNEL MUTES Pressing any console mute switch transmits a MIDI Note On message unless MIDI has been disabled. Similarly receiving the correct Note On message will control the channel mute unless it has been made 'mute safe' or MIDI disabled. Console mutes are mapped to MIDI Note numbers as shown. Running status is supported on receive and transmit.
MIDI DUMP DATA When a MIDI DUMP OUT is performed the entire contents of the console memory is transmitted down the selected MIDI channel. This includes the current console mute settings, mute groups, patches, safe settings, solo settings, console modes, and console MIDI channel number. When a MIDI DUMP IN is received the console memory is completely overwritten. This is ideal when you want to archive settings and recall them at a later date, for example a re-run of a previous performance.
TECHNICAL SUPPORT Should you have any queries about the GL4000 console automation system please quote the console model, serial number and software version number in any communication with Allen & Heath or appointed service agent. The system has been designed and tested to be reliable under the harsh conditions typical of live sound 'on the road'.
HARD RESET Should the console memory become corrupted it can be reset to the factory defaults by performing a hard reset : Hold down EDIT GROUP + PREVIEW GROUP while powering up the console. The following condition set : All console mutes turned on. Patch display shows 0 All mute patches cleared (mutes turned off). All mute groups cleared (mutes turned off). MIDI channel set to 16. No mute safes set. No solo safes set. ERROR MESSAGES In the event of an automation error an error message is displayed.
FRONT-OF-HOUSE 44 WITH RECORDING
USING THE GL4000 FOR FRONT-OF-HOUSE (FOH) The console is positioned within the listening area so that the sound fed to the audience can be accurately balanced and controlled. In larger systems the performers monitors may be controlled from a separate console positioned at the side of the stage (on-stage monitor). Where this is not possible the monitors are controlled from the FOH console.
THE MONITORS Otherwise known as foldback or cue sends, the monitor mixes are created from the console aux sends. These feed amplifier/speaker systems positioned on-stage for the performers, backstage for the stage crew, in the pit for the orchestra, and so on. The channel aux sends are usually set PRE (pre-fade) for monitors so that they are independent of the front-of-house mix levels.
LIVE 2-TRACK RECORDING A simultaneous stereo recording can be made of the performance by feeding additional console outputs to a 2-track such as a cassette or DAT recorder. The GL4000 offers several methods depending on the application. In each case a separate output level trim is provided so that you can match the console to the operating level of the recorder, usually +4dBu (high level) or -10dBV (low level). AFL is provided so that the recording level can be checked independent of the live mix : 1.
ON-STAGE MONITOR Mixing system for on-stage control of performers monitor loudspeakers (wedges). Provides 12 monitors (10 wedges + LR sidefills) and a dedicated engineers 'listen' wedge output.
USING THE GL4000 AS A MONITOR CONSOLE The GL4000 can be easily configured to function as a dedicated 12 buss on-stage monitor console. Here, the console is positioned at the side of the stage giving the monitor engineer a clear view of the performers on stage. The sound sources are split to feed both the front-of-house console which controls the PA mix, and the monitor console which controls only the mix to the musicians own monitor speakers.
STEREO IN-EAR MONITORING The LR mix can be used to feed a stereo in-ear monitoring system, often preferred by lead performers. A more precisely balanced mix can be created using the channel faders and pan controls. It is usual to plug limiters into the LR inserts to avoid possible hearing damage to the performer. Check the in-ear mix using the stereo headphones or by feeding the local monitor output to a duplicate in-ear system.
MULTI-SPEAKER SYSTEM 6 Speaker system driven from the matrix and LR2 outputs. Provides output balance and level trim independent of the mix levels. All outputs are balanced XLR with inserts for EQ, delay or other signal processors. OUTPUT LEVEL MATCHING AND BALANCE This example shows the matrix and LR2 outputs feeding the speaker system. Here all the output controls are grouped together at the top of the panel away from the normal operating area.
INTERNAL LINK OPTIONS The GL4000 is configured to satisfy most applications that should be encountered. However, the following internal link options are offered for those applications that may require alternative settings. These options require access to the internal circuit assemblies and resoldering of circuit board links. This work should be carried out by technically competent personnel. Further information is available in the separately available service manual and from your Allen & Heath agent.
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