![ALLEN & HEATH GL2400-16 [29/40] Create iem mixes with ambienc](/img/pdf.png)
ALLEN & HEATH GL2400-16 [29/40] Create iem mixes with ambienc
![ALLEN & HEATH GL2400-16 [29/40] Create iem mixes with ambienc](/views2/1989980/page29/bg1d.png)
GL2400 User Guide 29
Create IEM Mixes with Ambience In Monitor mode the
matrix continues to be fed with the 4 groups, L and R mixes. You can
use these to create additional, independent monitor mixes. Together
with the auxes these give you as many as 10 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 four instrument or ‘more me’ groups. Add
ambience using a pair of jack leads to patch the stereo channel MIC
Outputs 15 and 16 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 same 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 GL2400 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 to multitrack use whichever combination of groups, matrix,
auxes and channel direct outputs is most convenient. The direct
outputs are set pre-insert, pre-EQ 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-EQ, and post-fade if you prefer. Post-EQ lets you use the EQ for
source correction to affect both live sound and recording. 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 two PRE switches on every channel. One switch
affects auxes 1-4, the other auxes 5 and 6. 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.
MIC OUT
ST4 ST3 ST2 ST1
R
L/M
1516
MIC OUT
R
L/M
R
L/M
R
L/M
MIC INMIC IN
1516
(BREAKPOINT)
3
MTX
EXT
4
MTX
EXT
2
MTX
EXT
1
MTX
EXT
R
INSERT
L
INSERT
4
INSERT
3
INSERT
2
INSERT
1
INSERT
6
AUX
5
AUX
4
AUX
3
AUX
2
AUX
1
AUX
IN IN IN IN
MATRIX
MONITOR
LR
OUT
LAMP
AUX 5 AUX 4 AUX 3 AUX 2 AUX 1
R L GRP 4GRP 3GRP 2GRP 1
GRP/AUX REVERSE
IN1
IN2
IN3
IN4
MATRIX EX T IN
3421
PRE
AUX
AUX
4
3
AUX
AUX
2
1
OO +6
POST
OO +6
OO +6
OO +6
6
AUX
AUX
5
+6OO
PRE
POST
OO +6
Содержание
- Conditions of warranty 2
- Gl2400 user guide ap5597 issue 2 2
- Limited one year warranty 2
- Caution 3
- Important safety instructions 3
- Warning this equipment must be earthed 3
- Warnings 3
- Cleaning 4
- Damage 4
- Environment 4
- General precautions 4
- Hearing 4
- Important mains plug wiring instructions 4
- Lifting 4
- Transporting 4
- Applications and operating tips 3 5
- Audio connections 3 5
- Aux5 6 lrm masters 0 5
- Connecting power 1 5
- Contents 5
- Cue sheet 8 5
- General precautions 5
- Group aux masters 9 5
- Important safety instructions 5
- Installing the console 0 5
- Introducing the gl2400 5
- Introduction 5
- Introduction to this guide 5
- Monitor talkback and sig gen 2 5
- Mono input channel 6 5
- Panel layouts 5
- Specifications 2 5
- Stereo input channel 8 5
- System block diagram 4 5
- The console connectors 4 5
- User options 5 5
- Warranty 5
- X4 matrix 1 5
- Afl afl 6
- Afl afl afl 6
- Aux 1 2 6
- Aux 3 4 6
- Aux 5 6 6
- Gl2400 user guide 6
- Grp2 grp1 6
- Grp4 grp3 to lr to lr 6
- L r 2trk 6
- Line line 6
- Monitor 6
- Mute mute 6
- Mute mute mute 6
- Osc noise 6
- Phones 6
- Pink 1khz 6
- Polarity 6
- Power afl 6
- Pre post 6
- Rev rev 6
- Select 6
- Source 6
- Talkback 6
- Trk replay 6
- Gl2400 16 14 mono mic line 2 mic dual stereo 7
- Gl2400 24 22 mono mic line 2 mic dual stereo 7
- Gl2400 32 30 mono mic line 2 mic dual stereo 7
- Gl2400 40 38 mono mic line 2 mic dual stereo 7
- Gl2400 slv2 sys link v2 console in out expander option kit 7
- Gl2400 user guide 7 7
- Mps12 backup power supply for the 16 24 32 frame sizes 7
- Rps11 external power supply for the gl2400 40 7
- St4 st3 st2 st1 7
- The range 7
- Introducing the allen heath gl2400 8
- Affordabilit 9
- Attention to detai 9
- Capabilit 9
- Performanc 9
- Reliabilit 9
- Flight casin 10
- Free standing 10
- Installing the console 10
- Connecting a backup supply 11
- Connecting power 11
- Grounding 11
- Switching the console on and off 11
- Afl 24 nc 23 nc 22 nc 21 nc 20 12
- Afl 4 nc 12
- Afl dc 12
- Gl2400 user guide 12
- Grp 3 15 grp 2 16 grp 1 17 r 18 l 19 0v chs 12
- Grp 3 33 grp 2 34 grp 1 35 r 36 l 37 12
- Grp 4 12 aux 1 11 aux 2 10 aux 3 9 aux 4 8 aux 5 7 aux 6 6 pfl 12
- Grp 4 32 aux 1 31 aux 2 30 aux 3 29 aux 4 28 aux 5 27 aux 6 26 pfl 25 12
- Headphones 12
- Input output 12
- Insert 12
- Pfl dc 12
- Pin 2 hot 12
- Sys link ii output option 12
- Sys link v2 option 12
- V pafl 12
- A note about balanced connections 13
- Audio connections 13
- Dealing with ground loops buzz and interference 13
- Direct outpu 14
- Mono channel mic line i 14
- Stereo channel line i 14
- Stereo channel mic i 14
- Stereo channel mic ou 14
- The console connectors 14
- Aux out 1 15
- Group l r m ou 15
- Matrix ext in 1 15
- Matrix out 1 15
- Monitor ou 15
- Operating modes 15
- Sys link v2 optio 15
- Track in and ou 15
- Line pad 16
- Polarit 16
- The mono input channel 16
- A 4 led channel meter displays the pre fader signal level sig lights when a signal level of 12dbu is detected 0 lights when the nominal 0dbu level is reached and 6 at 6dbu pk lights when the channel pre fade signal is within 5db of clipping this gives you enough warning to reduce gain before you hear signal distortion 17
- A high quality 100mm smooth travel fader with protective dust cover controls the channel level feeding the main lr 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 0db position 17
- Aux send 17
- Gl2400 user guide 17 17
- 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 17
- Pre fade aux sends are not affected by the channel fader movements these are typically used to feed stage monitors in most cases users also prefer that the monitor sends are not affected by inserted processors or the channel eq 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 masters for all monitor mixes pre or post fade sends may also be used for special applications such as recording zone feeds clean feeds and aux fed subs or centre speaker 17
- Press l r to route the channel signal to the main lr mix press 1 2 or 3 4 to route to the 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 you can route to l r and all groups simultaneously by pressing all switches check that you have set these switches correctly before you start mixing 17
- 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 the pfl switch yellow indicator lights to show that pfl has been selected on that channel selecting more than one pfl at the same time mixes those signals together in the monitor 17
- Routin 17
- These rotary controls adjust how much channel signal is mixed to the aux outputs each of the 6 auxes has its own control they adjusts from fully off to 6db boost unity gain 0db is marked at 3 o clock position auxes 1 4 5 6 are switched pre post the settings may be changed if preferred by repositioning internal jumper link options they offer several different combinations of pre and post fade sends and a post eq option for the pre fade sends more detail is provided in options later in this guide 17
- When pressed the channel signal is turned off this affects the feed to the lr 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 17
- When pressed the pre fade channel signal is sent to the associated auxes when released the post fade signal is sent auxes 1 to 4 and 5 6 are grouped for pre post switching default setting is pre insert pre eq so that inserted compressors and eq do not affect the sends when mixing monitors from foh you can change this by repositioning the internal option jumpers 17
- Aux send 18
- Dual stereo line input 18
- Mic inpu 18
- Routin 18
- Routing mode switc 18
- The stereo input channel 18
- Aux af 19
- Aux master 19
- Group af 19
- Group fade 19
- Rev mode switc 19
- The group aux masters 19
- Aux 5 and 6 master 20
- Lr master 20
- M maste 20
- The aux 5 6 l r m masters 20
- Grp 1 2 3 4 21
- X4 matrix 21
- Console monito 22
- Monitor talkback and signal generator 22
- Signal generator pink nois 22
- Talkbac 22
- Gain structur 23
- Gl2400 applications and operating tips 23
- Mixing with faders or gain controls 24
- Using the oscillator noise generato 24
- The decibe 25
- Using insert 25
- Using pfl af 25
- 31 30 29 28 27 26 25 26
- 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 ambient 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 al 26
- Before starting the sound check it is good practice to zero the console by setting all its controls to a sensible starting condition 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 these can also be downloaded from our web site 26
- Gl2400 user guide 26
- It is good practice to 26
- Let equipment which has been stored in a damp or cold place acclimatise in the venue first before powering it up 26
- M r l 4 3 2 1 26
- Mixing the pa in mono or stereo 26
- Mtx1 mtx2 mtx3 mtx4 26
- Mute channels before plugging cables unplugging instruments and switching phantom power 26
- Polarit 26
- Polarity 26
- Power up the system in plenty of time before you start the sound check or show 26
- Refers to the positive and negative wires of a loudspeaker or balanced audio connection the 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 it does not affect time before starting your mixing check that all the channel polarity switches are correctly set normally up 26
- Sound level 26
- 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 frequency selective or full range hearing loss adhere to the sound level regulations which may apply to the venue and common sense 26
- Think before you hit the switch 26
- Turn the amplifiers on last and off first 26
- Turning the system on and of 26
- Zero the consol 26
- Ambience 27
- Aux fed c 27
- Aux fed subs 27
- Aux wedge 27
- Direct outputs 27
- Dual functionalit 27
- Engineer s wedge 27
- Groups 27
- Matrix 27
- Matrix iem 27
- Monitor 27
- Monitors 27
- Recording 27
- Stereo mono 27
- Talkback 27
- Applications for the matri 28
- Create iem mixes with ambienc 29
- Pre post fade aux settings 29
- Recording with the gl240 29
- Using the matrix to create a recordin 29
- Aux fed sub 30
- Creating a separate c mi 30
- Gl2400 30
- Other m output application 30
- Finally a note about combining signal 31
- Using the channel direct output 31
- Using the stereo channel 31
- Mechanical 32
- Performance 32
- Specifications 32
- Connections 33
- Gl2400 series part numbers 33
- Gl2400 34
- Gl2400 user guide 34
- Groups aux 1 4 34
- L r aux 5 6 34
- Matrix 1 4 34
- Mic mono inputs 34
- Mic stereo inputs 34
- Monitor 34
- Configure the internal option 35
- Important 35
- Refit the bas 35
- Remove the bas 35
- User options 35
- Aux pre post e 36
- Channel aux pre post setting 36
- Direct output sourc 36
- Stereo mono aux sourc 36
- Talkback mic 48 36
- Aux 1 4 balance 37
- Aux5 balance 37
- Aux6 balance 37
- Master l 37
- Master r 37
- Matrix 1 4 balance 37
- Output balance option 37
- Sys link v2 input output optio 37
- 2 3 4 l r m 38
- Copy and use this page to record your console settings 38
- Cue sheet 1 of 3 gl2400 master section 38
- Gl2400 38
- Gl2400 user guide 38
- Copy and use this page to record your console settings 39
- Cue sheet 2 of 3 gl2400 8 mono 39
- Gl2400 user guide 39 39
- Polarity 39
- Pre post 39
- Copy and use this page to record your console settings 40
- Cue sheet 3 of 3 gl2400 6 mono 2 stereo 40
- Gl2400 user guide 40
- Line line line line line line 40
- Polarity 40
- Pre post 40
Похожие устройства
- ALLEN & HEATH SQ-5 Руководство по эксплуатации
- ALLEN & HEATH Avantis Руководство по эксплуатации
- AKG WMS470 D5 SET BD8 (500-531) Руководство по эксплуатации
- AKG Perception Wireless 45 Vocal Set BD-U2 (614-634) Руководство по эксплуатации
- AKG WMS470 PRES SET BD7 (500-531) Руководство по эксплуатации
- AKG Perception Wireless 45 Vocal Set BD-A (530-560) Руководство по эксплуатации
- AKG Perception Wireless 45 Pres Set BD-U2 (614-634) Руководство по эксплуатации
- AKG Perception Wireless 45 Pres Set BD-A (530-560) Руководство по эксплуатации
- AKG Perception 420 Руководство по эксплуатации
- AKG Perception 170 Руководство по эксплуатации
- AKG D7 Руководство по эксплуатации
- Sennheiser RS120-8 II Руководство по эксплуатации
- AKG Perception Wireless 45 Sports Set BD-A (530-560) Руководство по эксплуатации
- APart AUDIOSYSTEM8.8 Руководство по эксплуатации
- Sennheiser G4ME Zero Руководство по эксплуатации
- Sennheiser G4ME One Руководство по эксплуатации
- Sennheiser CX 7.00BT Руководство по эксплуатации
- Stelberry S-665 Руководство по эксплуатации
- Sennheiser HD 205 II WEST Руководство по эксплуатации
- Stelberry S-525 Руководство по эксплуатации