Allen and Heath GL-2800-M Owners manual

ALLEN

&

HEATH

GL

GLGL

GL

2

22

2

800

800800

800

M

MM

M

USER

USERUSER

USER

GUIDE

GUIDE GUIDE

GUIDE

16 MIX WEDGE / IEM MONITOR CONSOLE

Publication AP6690

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 & Heath Limited or its authorised agent as soon as possible for repair under warranty subject to the following conditions

Conditions Of Warranty

1. The equipment has been installed and operated in accordance with the

instructions in this User Guide

2. 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 & Heath.

3. Any necessary adjustment, alteration or repair has been carried out by Allen

& Heath or its authorised agent.

4. This warranty does not cover fader wear and tear.

5. The defective unit is to be returned carriage prepaid to Allen & Heath or its

authorised agent with proof of purchase.

6. Units returned should be packed to avoid transit damage.

In certain territories the terms may vary. Check with your Allen & Heath agent for any additional warranty which may apply.

This product complies with the European Electromagnetic Compatibility directives 89/336/EEC & 92/31/EEC and the European Low Voltage Directives 73/23/EEC & 93/68/EEC.

This product has been tested to EN55103 Parts 1 & 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 & 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 & Heath.

NOTE: Any changes or modifications to the console not approved by Allen & Heath could void the compliance of the console and therefore the user’s authority to operate it.

GL2800M User Guide AP6690 Issue 2

ALLEN&HEATH

Limited

Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK http://www.allen-heath.com

Important Safety Instructions

WARNINGS

-

Read the following before proceeding :

CAUTION

ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR

Read instructions:

instructions for future reference. Adhere to all warnings printed here and on the console. Follow the operating instructions printed in this User Guide.

Do not remove cover:

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:

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:

to be walked on, stretched or pinched by items placed upon or against it.

Grounding:

means of the power cord plug. Do not remove or tamper with the ground connection in the power cord.

WARNING: This equipment must be earthed.

Do not defeat the grounding and polarisation

Water and moisture:

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:

ventilation slots or position the console where the air flow required for ventilation is impeded. If the console is to be operated in a flight case, plinth or other furniture ensure that it is constructed to allow adequate ventilation.

Do not obstruct the power supply heatsinks and

Heat and vibration:

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:

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:

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.

Switch off the equipment and unplug the power

Install the console in accordance with the

Read and retain these safety and operating

Operate the console and power units with

Connect the console to a mains power outlet only

Route the power cord so that it is not likely

To reduce the risk of fire or electric shock

Do not locate the console in a place

GGGGLLLL2222888800000000MMMM 3 Allen & Heath

General Precautions



Damage

placing heavy objects on the control surface, scratching the surface with sharp objects, or rough handling and vibration.

Environment

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.

Cleaning

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

care when lifting, moving or carrying the console.

Transporting

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

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.

To prevent damage to the controls and cosmetics avoid

Protect from excessive dirt, dust, heat and vibration

Avoid the use of chemicals, abrasives or solvents. The

To avoid injury to yourself or damage to the equipment take

The console may be transported as a free-standing

To avoid damage to your hearing do not operate any sound

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:

WIRE COLOUR TERMINAL

European USA/Canada

L LIVE BROWN BLACK

N NEUTRAL BLUE WHITE

E EARTH GND GREEN & YELLOW GREEN

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.

GGGGLLLL2222888800000000MMMM 4 Allen & Heath

Introduction

Welcome to the Allen & Heath GL2800 GL series 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 approved 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

GL2800MMMM, the dedicated monitor version of the popular

GL2800GL2800

Contents

Warranty ....................................................................... 2

Important Safety Instructions ....................................... 3

General Precautions..................................................... 4

Introduction to this Guide............................................. 5

Panel Layouts............................................................... 6

System Block Diagram................................................. 7

Dimensions and Installation ......................................... 8

Introducing the GL2800

GL2800 .......................................... 9

GL2800GL2800

Connecting Power........................................................ 9

Audio Connections..................................................... 10

Mono Input Channel .................................................. 11

16 Mix Sends.............................................................. 12

Mix Masters ................................................................ 13

Engineers Monitor System......................................... 14

Engineers Toolbox ..................................................... 15

Applications and Operating Tips ............................... 16

Specifications ............................................................. 21

Cue Sheets................................................................. 22

GGGGLLLL2222888800000000MMMM 5 Allen & Heath

STEREO

GAIN

HF

12k

HM

LM

LF

80Hz

MIX

1

MIX

2

MIX

3

MIX

4

MIX

5

MIX

6

MIX

7

MIX

8

MIX

9

MIX

10

MIX

11

MIX

12

MIX

13

MIX

14

MIX

15

MIX

16

PK! +6

0

SIG

M1

M2

M3

M4

0

20

-15

1k

700

500Hz

-15

70

45

35Hz

-15

OO

PAN

LLL R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

30

3k

180

C

+48V

POLARITY

PAD

40

60 40-14 6

HPF

100Hz

+15

4k

15k

+15

250

1k

+15

EQ IN

+6

MUTE

6

0

5

10

20

30

00

PFL

GL2800M

16 MIX WEDGE / IEM MONITOR CONSOLE

TALKBACK MIC

TALKBACK

OSC/NOISE

A

B

TALK

MUTE GROUPS

C

PFL TRIM

POWER

L R

PFL ACTIVE

EXT

IN

10

5

0

5

10

20

30

00

PHONES

MAXMIN

PINK NOISE 1kHz OSC

ON

EXT TB

LATCH

M1

M2

M3

M4

MAXMIN

FOLLOW IEM

0

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

MONO

MAXMIN MAXMIN

EXT ON

MUTE

GLOBAL

SETTINGS

MIX

1-8

D

POST PRE

E

MONO STEREO

AFL

F

WEDGE IEM

9-12

MIX

G

POST PRE

H

MONO STEREO

AFL

I

WEDGE IEM

13-16

MIX

J

POST PRE

K

MONO STEREO

AFL

L

WEDGE IEM

+6-12

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

WEDGEIEM

PFL ACTIVE

M

PFL ON

EXT

IN

EXT ON

MUTE

10

5

0

5

10

20

30

00

3K

2k

1k

700

500Hz

HM

-

100

LM

400

200

80Hz 2k

50

-

6k

400

POLARITY POLARITY POLARITY POLARITY POLARITY POLARITY P OLARITY POLARITY

50

HPF

40 100

15

off 400

WEDGE

IEM

10

0

5

10

20

30

00

3K

2k

4k

1k

6k

700

9K

12k

500Hz

HM

+

-

400

500

200

700

100

1k

80Hz 2k

LM

+

-

EQ IN

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16 +9 +6 +3

0

-3

10

-6

-9

-12

-16

-20

5

-30

0

5

STEREO

10

20

30

00

EQ IN

AFL

4k

12k

TB

MUTE

DIM

+

500

+

3K

2k

1k

6k

700

9K

500Hz

HM

-

400

200

700

100

1k

80Hz 2k

LM

-

3K

2k

4k

1k

6k

700

9K

12k

500Hz

HM

+

-

400

500

200

700

100

1k

80Hz 2k

LM

+

-

3K

2k

4k

1k

6k

700

9K

12k

500Hz

HM

+

-

400

500

200

700

100

1k

80Hz 2k

LM

+

-

3K

2k

4k

12k

+

500

+

4k

1k

6k

9K

700

1k

700

HM

100

LM

500Hz

-

400

200

80Hz 2k

-

6k

9K

12k

+

500

700

1k

+

EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN

HPF

200

50

40 100

15

off 400

WEDGE

IEM

10

0 0

5

10

20

30

00

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16

+9 +6 +3

0

-3

10

-6

-9

-12

-16

-20

5

-30

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

10

5

50

HPF

40 100

200

15

200

off 400

TB

MUTE

DIM

AFL

5

TB

MUTE

DIM

WEDGE

AFL

IEM

+16

+9 +6 +3

0

-3

10

-6

-9

-12

-16

-20

5

-30

0 0

5 5 5

STEREO STEREO STEREO

10

20

30

00

5

10

20

30

00

10

20

30

00

3K

2k

1k

700

500Hz

HM

-

400

200

100

80Hz 2k

LM

-

50

HPF

40 100

15

off 400

WEDGE

IEM

0 0

5

10

20

30

00

3K

2k

4k

12k

+

500

+

TB

MUTE

DIM

AFL

10

5

4k

1k

6k

9K

700

1k

200

700

HM

200

100

LM

HPF

15

500Hz

80Hz 2k

-

400

-

50

40 100

off 400

6k

9K

12k

+

500

700

1k

+

200

TB

MUTE

DIM

WEDGE

AFL

IEM

+16 +9 +6 +3

0

-3

10

-6

-9

-12

-16

-20

5

-30

10

20

30

00

1 2 3 4 5 6 7 8

HPF

15

POLARITY

50

40 100

off 400

WEDGE

AFL

IEM

10

5

0

5

10

20

30

00

POLARITY POLARITY POLARITY POLARITY POLARITY POLARITY POLARITY

TB

MUTE

DIM

50

HPF

40 100

200

15

off 400

WEDGE

IEM

+16 +9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

10

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16

+9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

10

5

50

HPF

200

TB

MUTE

DIM

AFL

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

5

40 100

15

off 400

WEDGE

IEM

HPF

200

TB

MUTE

DIM

AFL

10

5

0 0 0 0 0 0 0

STEREO STEREO STEREO STEREO

10

20

30

00

5 5 5

10

20

30

00

10

20

30

00

10

20

30

00

10

20

30

00

40 100

15

off 400

10

20

30

00

IEM

50

WEDGE

50

HPF

40 100

200

15

200

off 400

TB

MUTE

DIM

AFL

10

5

TB

MUTE

DIM

WEDGE

AFL

IEM

+16 +9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

10

20

30

00

CONSOLE CONFIGURATION

SELECT USING A POINTED OBJECT

A

OSC/NOISE GENERATOR

ON

ENABLE

B

TALK SWITCH

LATCH

OVERRIDE

C

FOLLOW

HEADPHONES SOURCE

IEM

AFL / PFL FOLLOW IEM MONITOR

CONFIGURE1-8

MIX

D

POST

PRE/POST FADER

PRE

E

MONO

STEREO (LEV/PAN)

STEREO

AFL

F

WEDGE

AFL ROUTING

IEM

9-12

MIX

CONFIGURE

G

POST

PRE/POST FADER

PRE

H

MONO

STEREO (LEV/PAN)

STEREO

AFL

I

WEDGE

AFL ROUTING

IEM

MIX

CONFIGURE

13-16

J

POST

PRE/POST FADER

PRE

K

MONO

STEREO (LEV/PAN)

STEREO

AFL

L

WEDGE

AFL ROUTING

IEM

M

PFL

PFL TO WEDGE MONITOR

ON

ENABLE

WEDGE OUT

AMPLIFIER

ENGINEERS WEDGE

ENGINEERS IEM

BELT PACK

IEM OUT

TRANSMITTER

HEADPHONES

UNDER ARMREST

9 10 11 12 13 14 15 16

IEM WEDGE

     

GL2800MMMM 6 Allen & Heath

GL2800GL2800

ALLEN&HEATH

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

INSERT

W

LAMP LAMP

IEM EXT IN

WEDGE EXT IN

EXT TB/OSC

L/M

R

IEM LRWEDGE

8 7 6 5 4 3 2 1

IEM

L

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

16 15 14 13 12 11 10 9

R

8 7 6 5 4 3 2 1

MIX MIX MIX MIX MIX MIX

16 15 14 13 12 11 10 9

MIX MIX MIX MIX MIX MIX

GL2800M

MIX

MIX MIX

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

INPUT

INPUT INPUT INPUT INPUT INPUT INPUT INPUT

MIX

GND LIFT

GND LIFT GND LIFT GND LIFT GND LIFT GND LIFT G ND LIFT GND LIFT

SPLIT SPLIT SPLIT SPLIT SPLIT SPLIT SPLIT

SPLIT

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

USE ONLY THE RECOMMENDED ALLEN & HEATH POWER SUPPLY

DC POWER IN

A

B

(BACKUP)

INSERT

SEND

TIP

GL2800M

RING

RETURN

SERIAL NUMBER

MADE IN ENGLAND BY ALLEN & HEATH LIMITED

INPUT CHANNELS

PHANTOM POWER

48V

IN

SPLIT

INSERT

0dBu

DIRECT OUT

SOLDER PAD OPTION

MONO/STEREO MODE

-20dB

2= +

LIFT

TIP= SEND

RING= RETURN

GLOBAL MIX SETTINGS

MIX1-8

PRE/POST FADE

WEDGE/IEM AFL

MIX9-12

PRE/POST FADE

WEDGE/IEM AFL

MIX13-16

PRE/POST FADE

WEDGE/IEM AFL

MUTE GROUPS

M1

M2

M3

M4

PAD

GL2800M

16 MIX WEDGE / IEM MONITOR CONSOLE

GAIN

POL

HPF

+

-

PRE-INSERT

C

PRE-FADE

D

POST-FADE

E

D

E

F

G

H

I

J

K

L

4 BAND EQUALISER

HF

HM

LM

LF

POST

PRE

POST

PRE

POST

PRE

EQ IN

METER

FADER

B

A

MONO

POST-EQ

PRE-EQ

MIX1

MIX2

MIX3

MIX4

MIX5

MIX6

MIX7

MIX8

MIX9

MIX10

MIX11

MIX12

MIX13

MIX14

MIX15

MIX16

PFL

MUTE GROUPS

MUTE

POST-FADE

MODE 1-8

STEREO

MIX1-2

PAN

MIX3-4

PAN

MIX5-6

PAN

MIX7-8

PAN

MODE 9-12

STEREO

MIX9-10

PAN

MIX11-12

PAN

MODE 13-16

STEREO

MIX13-14

PAN

MIX15-16

PAN

PRE-FADE

MIX 1-16

MUTE GRPS

PFL

IEM AFL

PRE/POST

W AFL

M/STEREO

M1

M2

M3

M4

IEM/WEDGE

TB

WEDGE EXT IN

IEM EXT IN

L/M

R

MIX

TB

W/IEM

M/ST

WEDGE AFL

L IEM AFL

R IEM AFL

MIX

TB

W/IEM

M/ST

WEDGE AFL

L IEM AFL

R IEM AFL

+

-

PFL MIX

AFL

LOGIC

AFL

LOGIC

POLARITY

ON

LO-CUT FILTER

INSERT

-2dBu

INSERT

-2dBu

IEM PFL

MIX1-8

2 BAND EQ

HM

LM

MIX9-16

L

W PFL

ENABLE

M

FADER

+10dB boost

EQ IN

DIM

-6dB

FADER

+10dB boost

DIM

-6dB

IEM

R

WEDGE

MUTE

W

AFL

IEM

MUTE

W

AFL

IEM

MIX OUT

BAL

2 = +

+4dBu

MIX OUT

BAL

2 = +

+4dBu

PHONES

FOLLOW IEM

C

PHONES OUT

TIP = LEFT RING = RIGHT

3

2

1

PFL TRIM

IEM AFL

WEDGE AFL

48V PHANTOM POWER

TALKBACK

MIC IN

OFF

2= +

ON J2J1

PHONES AFL

GAIN

+

-

PINK NOISE

1kHz OSC

INSERT

LEVEL

TB/OSC

-2dBu

ON

A

DIM

PRESS TO TALK

FADER

+10dB boost

FADER

+10dB boost

DIM

IEM

MONO

WEDGE

EXT TB

B

LATCH

MUTE

EXT TB OUT

2 = +

BAL

+4dBu

IEM OUT

2 = +

+4dBu

2 = +

+4dBu

WEDGE OUT

2 = +

+4dBu

GGGGLLLL2222888800000000MMMM 7 Allen & Heath

Allow access to additional under

-

armrest headphone socket

GL2800M-

824

832

840

=

944

1171

1398

MASTER

SECTION

168

9

INPUTS

x 8

5

INPUTS

x 8

INPUTS

x 8

640

650

MASTER

INPUTS

x 8

INPUTS

x 8

SECTION

6

3

4

62

58

19

DC POWER LEAD

2.8M

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.

419 413

158

RPS11 Rack Mount Power Supply

465.1

167

483

Width Depth Height Weight

368

57.2

132.5

GL2800-824 944mm (37.2”) 650mm (25.6”) 170mm (6.7”) 29 kg (63.8 lbs)

GL2800-832 1171mm (46.1”) 650mm (25.6”) 170mm (6.7”) 35 kg (77 lbs)

GL2800-840 1398mm (55”) 650mm (25.6”) 170mm (6.7”) 41 kg (90.2 lbs)

RPS11 PSU 482.6mm (19”) 235mm (9.25”) 135mm (5.31”) 9.5 kg (21 lbs)

230

100.0

115

GGGGLLLL2222888800000000MMMM 8 Allen & Heath

Introducing the Allen & Heath GL2

The monitor application has grown dramatically in recent times with the evolution of multiple wedge and stereo in-ear systems which can quickly exceed the mix capability of all but the most expensive consoles. The GL28 dedicated monitor console to the popular GL Series live sound range. It is compact, easy to use, offers the best of analogue reliability and sound, and has a capability that rivals that of much bigger and more expensive consoles. Mechanically similar to the GL28 its solid, individual card , nutted pot construction, it has the same space saving footprint and flight case outline, includes a built-in mic splitter and provides no fewer than 16 mixes plus a comprehensive dual output engineer’s wedge/IEM monitoring system.

• 24, 32, 40 and 48 channel frame sizes

• 16 mixes globally assigned as mono or stereo with level and pan

• Built-in passive mic splitter with ground lift switching

• All masters include polarity switch, swept HPF and 6dB dim function

• Mix 1-8 include 2 band swept frequency output EQ

• Engineer’s IEM and wedge monitors with faders, meters, inserts and XLR

• IEM/wedge monitor external inputs for FOH comms and IEM rack monitoring

• Mix AFL assignable to either wedge or IEM monitor

• PAFL logic includes PFL override AFL, mono/stereo AFL, PFL to wedge enable

• Headphones follow IEM mode, includes ¼” and 3.5mm jacks

GL2888800

GL2GL2

GL2800

GL28GL28

00MMMM

0000

00MMMM adds a fully featured yet affordable

0000

GL2800

00 with

GL28GL28

0000

Connecting Power

MAIN SUPPLY

BACKUP SUPPLY

DC POWER IN

A

• Talkback with independent selection to all mixes and external output

• Talk latch mode for use with switched hand held talkback mic

• Built-in oscillator/ pink noise generator assignable to any mix output

• Built-in dual supply combiner for additional power supply as a backup

• 4 mute groups

• Solid individual card, nutted pot construction in a no nonsense all steel chassis

(BACKUP)

B

Read the safety instructions

the warnings printed on the rear of the console and RPS11 power unit. Check that your local mains supply voltage is the same as that marked on the rear of the power unit.

Grounding

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.

For safety it is important that all equipment grounds

Connect the DC power lead

RPS11 and the “DC POWER IN A” on the GL2800

Backup power supply

included for plugging in an optional backup RPS11 power supply. This provides the reassurance of power supply dual redundancy. 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.

A second “B (BACKUP)” socket is

provided with this console, and

between the “DC OUT” on the

GL2800MMMM.

GL2800GL2800

Switching the console on

switching the console and any other connected equipment on or off. This prevents any unexpected clicks or thumps when the equipment is powered up.

GGGGLLLL2222888800000000MMMM 9 Allen & Heath

Turn the power amplifiers off before

XLR female plug

TS jack plug

2 3 1

Sleeve

Tip

RCA phono jacks

XLR male plug

Female XLR plug

UNBALANCED

PIN 2 = HOT

BALANCED

UNBALANCED

INPUT / OUTPUT

link Ring to Sleeve

TRS jack plug

1 3 2

XLR male socket XLR female socket

3

1=ground

2=hot +

3=cold -

Tip

Sleeve

Ring

INPUTOUTPUT

21

12

1+3 = 12V

1

3

4 = 0V

LAMP

3

1=ground

2=hot +

3=cold -

BALANCED

XLR male plug

UNBALANCED

HEADPHONES

Sleeve=ground

Ring=RIGHT

Tip=LEFT

INSERT

Y-Adapter

2 Outputs to 1 Input

No !

TO

INPUT

Tip=hot (+)

2=hot (+)

3=cold (-)

BALANCED

Sleeve=ground

Ring=cold (-)

1=ground

Sleeve=ground

UNBALANCED

BALANCED

XLR MALE

BALANCED

Ring=cold -

Tip=hot +

RCA PHONO CABLE

INSTRUMENT CABLE

TRS JACK CABLE

MIC CABLE

TRS to XLR-F CABLE

UNBALANCED

RCA phono jacks

BALANCED

XLR FEMALE

BALANCED

Sleeve=ground

Ring=return

UNBALANCED

BALANCED

Sleeve=ground

Tip=send

adapter

Ring=cold (-)

1=ground

Tip=hot (+)

3=cold (-)

2=hot (+)

Y-Adapter

1 Output to 2 Inputs

Yes

FROM

OUTPUT

Tip=hot (+)

2=hot (+)

3=cold (-)

Sleeve=ground

Ring=cold (-)

1=ground

BALANCED

XLR MALE

TRS to XLR-M CABLE

XLR FEMALE

3=cold (-)

BALANCED

Sleeve=ground

Ring=cold (-)

Tip=hot (+)

GGGGLLLL2222888800000000MMMM 10 Allen & Heath

The Input Channel

IN

SPLIT

2= +

LIFT

INSERT

INPUT

GND LIFT

SPLIT

PHANTOM POWER

48V

GAIN

POL

PAD

-20dB

+48V

POLARITY

PAD

0

30

20

GAIN

HPF

100Hz

HF

12k

+15

-15 3k

1k

700

15k

500Hz

HM

+15

-15 180

70

45

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

CHANNEL INPUT

Balanced XLR input pin 2 hot. Accepts mic or line level signals. For unbalanced sources use a cable or adapter that connects XLR pin 3 to pin 1.

CHANNEL PREAMP

54dB gain range with 20dB pad to accept signals from -60dBu to +14dBu nominal. Press PAD for hot signals up to +34dBu max. Press HPF to switch in a 12dB/octave 100Hz lo cut filter. Press POLARITY to invert the signal for working with a pin 3 hot source, correcting a reverse wired cable, bottom miking a snare drum and so on. Reversing polarity may help certain situations where feedback is a problem.

PHANTOM POWER

Press +48V for phantom power via 6.8k ohm resistors to pins 2 and 3 for microphones such as condensers which require phantom powering.

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.

If you are working with separate monitor and FOH consoles then phantom power may be supplied by either or both consoles without damage. Typically the monitor console provides the power because the monitor engineer would be closer to the stage patch.

BUILT-IN MIC SPLITTER

40

50

60 40-14 6

output to split the signal to another console such as FOH or recording. This is a passive split. The GL2800 for the split to work.

GND LIFT

Disconnects the pin1 ground connection between the input

Passes the XLR input through to an XLR

GL2800MMMM does not need to be turned on

GL2800GL2800

XLR and the split output XLR. Press this if there is a problem with a venue ground loop causing audible hum when connecting the splitter to a second console. To isolate the audio ground between the consoles make sure you select all the channel ground lift switches.

4k

6k

INSERT

A single 3-pole TRS jack carries the unbalanced insert signal for each channel and main mix output. Tip = send, Ring = return, Sleeve = common ground. The channel inserts are post-HPF, pre-EQ and operate at 0dBu. Use these to patch in line level signal processing equipment such as compressors, gates or outboard EQ. The wiring of a suitable cable is shown in the diagram.

250

400

1k

TIP

RING

INSERT

SEND

RETURN

SEND

GROUND

RETURN

SEND

LINK RING TO SLEEVE TO UNBALANCE

PROCESSOR

OUT

IN

EQ

4 band channel EQ with swept frequency mids. The EQ is postinsert so that any inserted processing will be affected by these controls. The channel pre-fade aux sends are configured post-EQ as standard.

GGGGLLLL2222888800000000MMMM 11 Allen & Heath

The 16 Channel Mix Sends

The GL28

GL2800

GL28GL28

combinations of stage wedge and in-ear monitor sends. The controls are colour coded in pairs to quickly identify each mix. The mixes may be configured as mono or stereo, and pre or post the channel trim fader according to your requirement.

MIX

1-8

D

POST PRE

E

MONO STEREO

AFL

F

WEDGE IEM

9-12

MIX

G

POST PRE

H

MONO STEREO

AFL

I

WEDGE IEM

13-16

MIX

J

POST PRE

K

MONO STEREO

AFL

L

WEDGE IEM

+6

C

+6

C

+6

STEREO

PK!

+6

SIG

MIX

1

MIX

2

MIX

3

MIX

4

MIX

5

MIX

6

MIX

7

MIX

8

MIX

9

MIX

10

MIX

11

MIX

12

MIX

13

MIX

14

MIX

15

MIX

16

0

M1

M2

M3

M4

OO

C

PAN

LLL R

OO

C

PAN

L R

OO

C

PAN

L R

OO

C

PAN

L R

OO

C

PAN

L R

OO

C

PAN

L R

OO

C

PAN

L R

OO

C

PAN

L R

OO

6

0

5

10

20

30

00

PFL

MUTE

+6

GLOBAL

SETTINGS

+6

STEREO (LEV/PAN)

MIX

11

STEREO

OO

PAN

MIX

12

L R

OO

MON (2x LEV)

MIX

13

STEREO

OO

PAN

MIX

14

L R

OO

00MMMM features 16 mixes (aux sends). These are used for

0000

WEDGE or IEM, MONO or STEREO ?

Before starting, configure how you want the console to work by setting the GLOBAL SETTINGS switches in the master section. These are identified with the letters ‘D’ to ‘L’. Use a pen or pointed object to set these recessed switches. The 16 mixes may be configured in groups of 8, 4 and 4 to satisfy many combinations:

POST / PRE

this switch to change to pre-fade.

MONO / STEREO

switch to change to stereo send with separate pairs of level and pan controls. Start with the pan controls set to their centre detented position.

WEDGE / IEM AFL

either the engineer’s wedge or in-ear monitor. Default is AFL routed to the wedge monitor. Select this switch to route AFL to the engineer’s IEM monitor.

MIX SENDS

channel signal is mixed to each of the console outputs. They adjusts from fully off to +6dB boost. Unity gain 0dB is marked at 3 o’clock position. Every second control has a centre detent for operation as PAN when in stereo mode.

MUTE

Does not affect the channel insert.

FADER

position for normal operation. This is clearly marked with a pointer. The fader allows adjustment affecting all post-fade sends from the channel. +6dB boost is provided above ‘0’.

PFL

Press PFL to listen to the pre-fade channel signal in the engineer’s monitor without affecting the mix outputs. Selecting more than one PFL at the same time mixes those signals together in the monitor. PFL overrides any current mix AFL selection.

METER

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.

MUTE GROUPS

channel to Mute Groups 1 to 4 as required. Press the master mute switch to mute all channels assigned to that group.

Default is post-fade mix (aux) send. Select

Default is mono send. Select this

Each master AFL switch routes to

These rotary controls adjust how much

Turns off all sends including pre and post fader.

This is the channel trim control. Set to unity ‘0’

A 4 LED channel meter displays the pre-fader

Press these switches to add the

GGGGLLLL2222888800000000MMMM 12 Allen & Heath

The Mix Master

3K

2k

4k

1k

700

HM

100

LM

HPF

15

9K

12k

500Hz

+

-

400

500

200

700

80Hz 2k

+

-

EQ IN

POLARITY P OLARITY

50

40 100

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

10

5

0

6k

1k

200

+16

HM

LM

HPF

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

2k

1k

700

500Hz

-

200

100

80Hz 2k

-

40 100

15

off 400

0

3K

400

50

WEDGE

IEM

10

12k

EQ IN

TB

MUTE

DIM

AFL

5

4k

+

500

+

OUTPUT EQ

(MIX 1-8 only) 2 band swept frequency peak/dip EQ with in/out switch. Use this to adjust the overall sound of the mix, for example to satisfy the preference of a performer using in-ears, or to

6k

9K

notch out wedge speaker feedback when an outboard EQ is not available.

POLARITY

Reverses the signal +/- polarity of the output. Start with the switch in its up (non-inverted) position. Pressing the switch for reversed polarity can help in situations where speaker wiring

700

1k

errors, phasing effects or feedback is experienced on stage. Use the console pink noise generator to help identify speaker polarity and interaction problems.

HPF

Swept frequency 12dB/octave high pass (low cut) filter affecting the mix output. Adjust from off (full response) to 400Hz. Cutting the low frequency response of wedge monitor speakers can help clean up the stage sound and avoid wasting amplifier power on low end sounds and bleed not needed in the monitors.

TB

200

Enables the talkback / oscillator to the mix output. You can talk to or route the oscillator/noise generator to any combination of mix outputs using these switches.

MUTE

Turns off the mix output. Affects the meter but does not

affect the mix AFL function.

DIM

This momentary switch lets you attenuate the mix output level by 6dB (half volume) while holding it pressed. This can help you quickly identify and stop a monitor speaker feedback, or reduce volume without moving the fader while you are talking to a performer on stage.

AFL

Routes the post-fade pre-mute mix output to the engineer’s monitor system. Depending on the configuration of the GLOBAL SETTINGS switches, AFL feeds the console headphones monitor and either the engineer’s wedge speaker or the IEM (in-ear) monitor output. The associated yellow LED indicates which monitor is being fed. If two mixes are configured as a stereo pair, pressing one AFL checks that mix in mono, and pressing both AFL together checks the mix in stereo in the headphones and IEM monitors.

5

10

20

30

00

1 2

STEREO

10

20

30

5

METER

output XLR. Meter ‘0’ = XLR +4dBu output.

STEREO INDICATOR

12 LED bar output meter displays the signal at the mix

Green LED lights when the pair of mixes have been configured for stereo operation using the GLOBAL SETTINGS switches. In stereo mode, the associated channel sends operate as level and pan controls, and AFL can provide L only, R only or stereo LR checking of the mix.

FADER

INSERT

A 100mm fader provides accurate control of the mix output.

Each mix is provided with an insert socket for patching in

an outboard signal processor. When working with stage speakers this

00

is typically a 31 band graphic or a multi band parametric EQ used for ringing out feedback or tuning the speaker response. When working with in-ear systems this may be a dynamics processor with limiter to protect the ears of the IEM user. AFL monitors the signal after the insert so that the engineer can listen to the effect of the processor. A single 3-pole TRS jack carries the unbalanced insert signal for each mix output. Tip = send, Ring = return, Sleeve = common ground. The insert is post-HPF and pre-EQ, pre-fader and operates at a nominal -2dBu line level.

GGGGLLLL2222888800000000MMMM 13 Allen & Heath

The Engineer’s Monitor System

The GL28

GL2800

00MMMM provides three independent engineer’s monitor outputs. By setting

GL28GL28

0000

configuration switches the engineer can listen to each mix the way the performer hears it.

ENGINEERS EQ

WEDGE

AFL

IEM

TALKBACK FROM FOH

WEDGE

IEM

FROM TX RACK MONITOR

OR

FROM WEDGE EXT IN

WEDGE

IEM

M

PFL ON

PFL

ENGINEERS PROCESSOR

AFL

PFL

AFL

PFL

EXT IN

EXT ON

INSERT

WEDGE OUT

ENGINEERS WEDGE MONITOR

IEM OUT

HEADPHONES

FOLLOW

C

IEM

AMPLIFIER

ENGINEERS IEM

BELT PACK

TRANSMITTER

MONO WEDGE OUTPUT

To feed a wedge speaker monitor placed next to the console. Use the same type of speaker as those used for the monitors on stage so that the engineer can check the signal as it is heard by the performers. Includes a pre-fade insert for patching in an outboard EQ to let the engineer experiment with EQ changes before adjusting the associated mix EQ heard by the performer. Any mix AFL configured as WEDGE using the GLOBAL SETTINGS switches will be routed here. PFL overrides AFL in the wedge output if the recessed PFL ON enable switch has been set. An external input lets you add another signal such as talkback from FOH or a prompt back to the monitor engineer.

STEREO IEM OUTPUT

To feed the engineer’s in-ear monitoring system, typically a wireless IEM similar to those used by the performers. In situations where IEMs are not being used the output could be connected to feed a stereo wedge monitor instead. Includes a pre-fade insert for patching in an outboard processor to let the engineer try out changes before adjusting the associated mix processor heard by the performer. Any mix AFL configured as IEM using the GLOBAL SETTINGS switches will be routed here. PFL always overrides AFL in the IEM output. An external input lets you select another signal such as a monitor return from a wireless in-ear transmitter rack. The wedge ext input normals through the TRS input sockets for FOH talkback to the in-ears if nothing is plugged in.

HEADPHONES

AFL interrupted by PFL. The wedge and IEM AFL signals are summed to feed the headphones output. A recessed mode switch changes the headphones source to follow the IEM output instead. This provides a headphones output for the IEM monitor, complete with two ¼” and one

3.5mm sockets ideal for plugging in a variety of headphones including in-ear transducers.

XLR OUTPUTS

Differential balanced pin 2 hot

outputs operate at +4dBu with +26dBu maximum.

INSERT

LAMP

WEDGE EXT IN

IEM EXT IN

L/M

INSERT

W

IEM

L

R

EXT TB/OSC

INSERTS

3-pole TRS jack unbalanced insert for each monitor. Tip = send, Ring = return, Sleeve = ground. The insert is pre-fader and operates at a nominal -2dBu line level.

WEDGE EXT IN

Balanced XLR pin 2 hot for

nominal 0dBu line level signal.

WEDGE

R

IEM LR

IEM EXT IN

Unbalanced TRS jacks for line level input. For a mono signal plug into the L/M input only. With nothing plugged into these sockets the wedge ext input is normalled through to both inputs to provide a common source to both the wedge and IEM monitors.

GGGGLLLL2222888800000000MMMM 14 Allen & Heath

The Engineer’s Toolbox

The GL28 to help the monitor engineer set up and keep control of the multiple wedge/in-ear stage environment. Includes the engineer’s monitors, headphones sockets, talkback section, built-in oscillator/noise test generator, mute group masters and the global settings configuration switches.

PHONES OUT

for plugging in standard headphones and mini-jack ear pieces and inear sets. An alternative ¼” socket is provided under the armrest.

TB MIC

the performers via their monitors. +48V phantom power is provided. This may be disabled by resetting an internal jumper. Adjust the mic level using the TALKBACK trim control.

OSC/NOISE GENERATOR

using a recessed switch to protect it from accidental operation. When you have finished using the generator turn it off to avoid test signal during the show. Adjust the level using the OSC/NOISE trim control. The test signal is routed to a mix output as soon as its associated TB switch is pressed.

PINK NOISE / 1kHz OSC

tone as the test source. Use the tone when calibrating equipment levels. Use pink noise when testing speaker drivers and polarity.

EXT TB

TB/OSC socket. Balanced line level XLR output to drive a long cable run to a remote location, for example to communicate with the engineer at the FOH console. The output could also be used to patch the generator to test console channels or other audio equipment.

TALK

output which has its TB switch selected. To prevent possible feedback the engineer’s wedge output is dimmed (attenuated) by 20dB when TALK is pressed. The generator is dimmed by 12dB for intelligibility, for example when talking to a monitor being tested.

LATCH

permanently enable the talkback mic when using a switched hand held microphone. Simply activate the switch on the microphone when you want to talk to enabled destinations. The TALK switch still provides a manual dim function.

MUTE GROUPS

mute all inputs assigned using the channel M1-4 switches.

TALKBACK MIC

TALKBACK

OSC/NOISE

A

B

TALK

MUTE GROUPS

C

PFL TRIM

POWER

L R

PFL ACTIVE

EXT

IN

PHONES

MAXMIN

PINK NOISE 1kHz OSC

ON

EXT TB

LATCH

M1

M2

M3

M4

MAXMIN

FOLLOW IEM

0

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

MONO

MAXMIN MAXMIN

EXT ON

MUTE

GLOBAL

SETTINGS

MIX

1-8

D

POST PRE

E

MONO STEREO

AFL

F

WEDGE IEM

9-12

MIX

G

POST PRE

H

MONO STEREO

AFL

I

WEDGE IEM

13-16

MIX

J

POST PRE

K

MONO STEREO

AFL

L

WEDGE IEM

+6-12

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

WEDGEIEM

PFL ACTIVE

M

PFL ON

EXT

IN

EXT ON

MUTE

GL2800

00MMMM provides a comprehensive combination of facilities

GL28GL28

0000

Both a ¼” and a 3.5mm socket are provided here

Plug in a cable or gooseneck vocal microphone to talk to

The generator is turned on or off

Select either the pink noise or 1kHz

Routes the talkback/generator to the rear panel EXT

Press this momentary switch to route the talkback mic to any

This recessed mode switch overrides the TALK switch to

Press one or more of these master switches to

HEADPHONES FOLLOW IEM

10

5

0

5

10

20

30

00

10

5

0

5

10

20

30

00

to change the headphones source to follow the IEM monitor system.

PFL TRIM

Adjust the PFL signal level to the headphones and monitor outputs to match your average AFL level. Range from -12dB to +6dB with centre detented 0dB position for normal operation. Does not affect the PFL meter reading.

IEM MASTER

Provides fader, mute, pre-fade meters, mono summing of the stereo signal and external input switch and level trim. Selecting a channel PFL overrides any current AFL selection, indicated by the PFL ACTIVE LED.

WEDGE MASTER

Provides fader, mute, pre-fade meter and

Set this recessed mode switch

external input switch and level trim. Select the recessed PFL ON

IEM W EDGE

switch if you want to check PFL in the wedge monitor. PFL overrides any current AFL selection.

GGGGLLLL2222888800000000MMMM 15 Allen & Heath

GL2800M Operating Tips

!

The following is a collection of brief application notes, hints and tips to help the operator to get the most out of the uniquely capable

GL2

GL2888800

00MMMM live sound monitor mixing console. They are written as

GL2GL2

0000

a concise reference to spark your imagination to creatively and effectively deal with the many challenges faced in modern day mixing.

Gain Structure

The term used to describe the gain (level)

matching of the signal through the audio system chain. Each item in

+20 +16 +12

+9 +6 +3 +1

NORMAL OPERATING RANGE

HEADROOM

0

-1

-3

-6

-9

-12

-16

-20

-30

-40

-50

-60

-70

SIGNAL-TO-NOISE RATIO

-80

-90

CLIPPING

SIGNAL

DYNAMIC RANGE

NOISE

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 0dBu (0.775V), well clear of the noise floor (typically less than -90dBu), and with good headroom (typically clipping at greater than +20dBu). The signal can pass through many stages which affect its level within the console; the channel, its EQ, fader, pan, the mix head amp, inserted EQ and processing, master fader, on to the main output. 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 GL2

GL2888800

00MMMM provides comprehensive metering to check every

GL2GL2

0000

point within the console signal path. Use the channel meters and PFL/AFL system to set the gains and mix levels to average around ‘0’ meter reading with usual peaks around ‘+6’. Reduce the gain if the red ‘+16’ or ‘PK’ indicator lights.

Use the equipment meters to set 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.

GGGGLLLL2222888800000000MMMM 16 Allen & Heath

OSC/NOISE

A

MAXMIN

PINK NOISE 1kHz OSC

ON

Using the Oscillator / Noise Generator

The GL2

GL2888800

GL2GL2

00MMMM

0000

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 mix output to an in-ear transmitter or effects send/return loop. Route the tone to the mix you wish to align. Set the mix master fader to ‘0’. Press the mix TB switch to route the tone to this mix. Turn up the OSC/NOISE level until the mix meter reads ‘0’. Next, adjust the destination equipment input trim so that its meter also reads ‘0’. The connected equipment is now correctly aligned to the operating level of the console. You can patch the tone to other equipment by enabling the EXT TB switch and using the rear panel EXT TB/OSC output.

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, and the severe phasing effect which indicates that one of the speakers may have its wires reversed. Adjust the swept frequency mix HPF using the noise source to listen to the effect of cutting the low frequencies in the monitors.

PFL

WEDGE

AFL

IEM

☺

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.

The GL2

GL2888800

00MMMM signal generator is an invaluable tool for calibrating

GL2GL2

0000

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.

Using PFL / AFL

The input channels provide PFL (pre-fade listen) so that each source can be checked using the meters and wedge/IEM monitors before you bring the channel fader up. You can use PFL while the channel is muted to prevent the signal reaching the monitors until you have checked it and are ready. All the mix outputs provide AFL (after-fade listen) so that you can check the exact level leaving the console. The AFL switch gets its source before the output mute so that you can check the signal before you send it to its destination.

Using Inserts

The GL28

GL2800

GL28GL28

00MMMM channel inserts operate at 0dBu,

0000

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 (0dB) with the bypass switch pressed (if available). With the effect switched in, use the processor output level trim or make-up gain to make any further adjustments needed. This keeps the gain structure correct through the channel signal path. 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.

TIP

RING

INSERT

SEND

RETURN

SEND

GROUND

RETURN

SEND

LINK RING TO SLEEVE TO UNBALANCE

OUT

IN

GGGGLLLL2222888800000000MMMM 17 Allen & Heath

POLARITY

6

0

5

10

20

30

00

Polarity

Refers to the positive (+) and negative (-) wires of a loudspeaker or balanced audio connection. The console input channels and mix masters include POLARITY switches which reverse the + and – input connections. 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, helping to reduce comb filtering effects between speakers on stage, reducing interaction between stage sound and the FOH PA, and in certain situations helping to reduce feedback. 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 and mix polarity switches are correctly set, normally up (+).

Using the channel faders

The channels provide 60mm trim faders. It is typical to mix monitors with their channel sends set postfade. This means you can use the channel fader as a master level trim for that source feeding all the mixes. Before you start balancing the mix set the channel faders to their marked ‘0’ point for normal operation.

If you prefer, you can set all or some of the sends pre-fade so that they are not affected by the fader. For example, you could set the IEM sends pre-fade so that the personal mix to each performer is not affect when you make global changes to all the wedge speakers to adjust stage volume for a particular instrument.

INPUT

GND LIFT

SPLIT

+48V

POLARITY

PAD PAD PAD PAD PAD PAD PAD PAD

0

30

40

20

GAIN

50

6040-14 6

HPF

100Hz

HF

12k

-15

+15

-15

+15

-15 3k

3k

1k

4k

1k

4k

1k

700

6k

700

6k

700

500Hz

15k

500Hz

15k

500Hz

HM

-15

+15

-15

+15

-15

180

70

250

70

250

70

45

400

45

400

45

35Hz

1k

35Hz

1k

35Hz

LM

-15

+15

-15

+15

-15

LF

80Hz

-15

+15

-15

+15

-15

EQ IN

MIX

1

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

2

LLL R

OO

+6

OO

+6

MIX

3

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

4

L R

OO

+6

OO

+6

MIX

5

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

6

L R

OO

+6

OO

+6

MIX

7

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

8

L R

OO

+6

OO

+6

MIX

9

STEREO

OO

+6

OO

+6

C

PAN

MIX

10

L R

OO

+6

OO

+6

OO

MIX

11

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

12

L R

OO

+6

OO

+6

MIX

13

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

OO

+6

OO

+6

OO

C

PAN

MIX

16

L R

OO

+6

OO

+6

MUTE

PK!

+6

6

0

6

0

SIG

0

M1

5

M2

10

M3

20

M4

30

00

PFL

Using the built-in mic splitter

The GL2800

GL2800MMMM provides a

GL2800GL2800

built-in passive mic splitter. Plug the stage sources into the monitor console channel inputs. Connect the split outputs to the multicore feeding the second console, typically FOH. Each console has independent control of its sources. It is the same as using an XLR Ycable for one mic to feed two console channels. The GND LIFT switch disconnects the pin 1 ground link between the input and split output XLRs. Use this only if you experience audible hum due to a ground loop problem associated with the wiring at your venue. If this is the case you may need to select all the channel lift switches. Only in extreme situations may it become necessary to consider using a much more expensive transformer splitter solution to provide complete isolation between the consoles. Start with all LIFT switches deselected.

Phantom power and the monitor console

Either or both the monitor and FOH console may provide the 48V phantom power without any problem or damage to the equipment. The power is routed to the XLR pins via 6.8k ohm resistors which limit current and prevent damage. Decide before the sound check which engineer shall be responsible for providing the power. Typically the monitor engineer would switch the power as he/she would be on stage helping set up the microphones. Ensure that both the FOH and monitor console mic channels are muted while the mics are being plugged and power switched.

+48V

POLARITY

30

40

6040-14 6

HPF

100Hz

+15

3k

15k

+15

180

1k

+15

EQ IN

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

MUTE

6

0

5

10

20

30

00

PFL

POLARITY

0

30

40

20

GAIN

50

4k

6k

250

400

STEREO

PK! +6

SIG

50

6040-14 6

HPF

100Hz

HF

12k

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15 3k

3k

4k

1k

4k

1k

4k

1k

4k

1k

4k

1k

6k

700

6k

700

6k

700

6k

700

6k

700

15k

500Hz

15k

500Hz

15k

500Hz

15k

500Hz

15k

500Hz

HM

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15 180

180

250

70

250

70

250

70

250

70

250

70

400

45

400

45

400

45

400

45

400

45

1k

35Hz

1k

35Hz

1k

35Hz

1k

35Hz

1k

35Hz

LM

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15

LF

80Hz

+15

-15

+15

-15

+15

-15

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

O

+6

O

C

PAN

MIX

2

LLL R

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

MIX

3

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

C

PAN

MIX

4

L R

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

MIX

5

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

C

PAN

MIX

6

L R

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

MIX

7

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

C

PAN

MIX

8

L R

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

MIX

9

STEREO

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

C

PAN

MIX

10

L R

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

MIX

11

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

C

PAN

MIX

12

L R

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

MIX

13

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

+6

OO

+6

OO

+6

OO

+6

OO

C

PAN

MIX

16

L R

OO

+6

OO

+6

OO

+6

OO

+6

OO

+6

MUTE

PK!

+6

6

0

6

0

6

0

6

0

6

0

SIG

0

M1

5

M2

10

M3

20

M4

30

00

PFL

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 GLOBAL SETTINGS and all other mode switches are correctly set for your application. Set all GAIN, EQ and PAN controls mid, faders off, TALKBACK and OSC/NOISE levels off, TB enable switches off, PFL and AFL off, and all other switches up. If you have configured stereo mixes start with their pan controls (even numbered sends) set to their centre detented position. Make sure the osc/noise generator is turned off. Cue Sheets are provided at the rear of this guide for you to copy and log your control settings. This can also be downloaded from our web site.

+48V

GGGGLLLL2222888800000000MMMM 18 Allen & Heath

Stage wedge speakers

wedge speakers used for stage monitoring are critical to both meeting the performers needs and keeping stage noise under control. Use a speaker designed for the monitor application and with adequate power handling for the type of show. Know the directional response of the microphones being used as this can determine the optimum position of the speakers to minimise feedback. Ensure the speaker is as close as possible to and angled up to face the performer.

The engineer’s wedge speaker

speaker as used on stage for the performers. To help you hear the mix as the performer does, position this in a similar way to those used on stage, on the floor angled up towards you.

Ringing out the wedges

position each mic and speaker correctly. Use an EQ, typically 31 band graphic, inserted into each wedge mix. Start with the EQ set flat. Sweep the console mix HPF to filter out unnecessary low frequencies. Restricting the low end in the wedges can improve the overall stage sound and prevent the amplifiers wasting energy. It is likely that there will already be a strong low frequency presence from the back line.

Get a colleague to help with this process. Ring out each monitor by carefully turning up the level until feedback just starts. Have someone talk, shout or sing into the mic as this may stimulate further feedback. Find and cut back that frequency a few dB on the EQ. Turn up the level and find the next feedback ring. Do this for 2 or 3 frequencies and do not cut more than 3 to 6dB where possible. Avoid using the EQ to boost frequencies. Excessive use of the EQ may reduce the feedback but may also destroy the intelligibility of the mix. While finding the feedback it helps to simulate how the mic will be used during the show. For example, cup the mic with your hand, present your open mouth close to its grille, walk around the stage if the performer does this. Certain ‘props’ such as sunglasses, costumes and hats may stimulate feedback. Once you have completed the process listen to your voice or a signal through the speaker to make sure that the overall tone is good. A monitor that has been effectively tuned in this way should provide plenty of GBF (gain before feedback) ready for the sound check and show.

The type and position of the floor

Use the same type of

To avoid problems take care to

BELT PACK

TRANSMITTER

Creating a wedge mix

as simple as possible with just vocals and specifically requested sources. It is unusual to put everything into the wedge mix as it is there to supplement the acoustic contribution of the instruments on stage. Avoid reverb or other ambient effects in the wedges if possible. To keep the stage level under control encourage the performers to turn down or reposition the back line amplifiers if they are too loud.

Mono or stereo in-ear monitors

professional closed ear IEM systems are capable of handling a stereo mix. Stereo is known to provide the performer with a much more comfortable listening environment. However, mono is still the more common method simply because of the lack of compact affordable consoles with a sufficient number of auxes or the ability to create true stereo mixes. The space saving GL2800 its 16 mixes, true stereo level/pan capability and advanced engineers stereo monitoring…

Adding ambience to an in-ear mix

wearing an in-ear monitor becomes isolated from the stage and audience acoustics it is good practice to add some ambience to the mix. A little stereo reverb can help, or better still, use a pair of ambient pickup microphones placed at the side or front of stage. Condenser mics are recommended. Plug these into a pair of channels and pan to create the stereo spread required. It helps to EQ out the extreme low and high frequencies to avoid distracting from the musical mix.

To improve intelligibility keep the mix

The majority of

GL2800MMMM changes all that with

GL2800GL2800

Because the performer

GGGGLLLL2222888800000000MMMM 19 Allen & Heath

TALKBACK MIC

TALKBACK

OSC/NOISE

TALK

Monitoring many mixes

The GL2800

GL2800MMMM provides a dual

GL2800GL2800

AFL monitoring system so you can check the stage wedge mixes in your own floor wedge, and check the in-ear mixes using your own IEM system or the console headphones. Before starting, decide which mixes are to feed each type of monitor and then configure the GLOBAL SETTINGS switches accordingly.

MAXMIN

A quick and easy IEM monitor

If you do not have a

dedicated engineer’s IEM system then simply select the headphones

MAXMIN

PINK NOISE 1kHz OSC

A

ON

EXT TB

B

LATCH

FOLLOW IEM switch so that the console headphones output may be used instead. In this mode the headphones follows the engineer’s IEM monitor master fader. A 3.5mm socket is provided in addition to the two standard ¼” sockets, ideal for plugging in the typical ear pieces used.

Communicating with the performers

Use the built-in talkback system to talk to individual or combinations of performers through their monitors. You may find it more convenient to use a switched, hand held microphone. In this case select the recessed LATCH mode switch to bypass the console TALK switch.

EXT

IN

MAXMIN

EXT ON

M1

M2

M3

M4

Think before you hit the switch!

Communicating with the FOH engineer

Use the external TB/OSC output to connect via the multicore to an input on the FOH console. Press the EXT TB switch to enable talkback to this output. The FOH engineer can route that channel or select PFL to his monitor when communication is needed. For reverse communication the FOH engineer can send a line level talkback signal from the FOH console via the multicore to the GL28

GL2800

00MMMM wedge EXT input XLR. Press the

GL28GL28

0000

EXT ON switch and adjust the level to listen to the FOH signal in your wedge when needed. The same talkback return is routed to the IEM monitor when nothing is plugged into its TRS jack inputs.

Using the mute groups

Use these to mute combinations of input channels, for example those associated with different bands playing in a festival. We recommend you set up one group to mute all inputs. This provides a quick way to turn the mix off during intermission or while you replug microphones on stage.

Turning the system on and off

• Turn the amplifiers on last and off first.

• Mute channels before plugging cables, unplugging

instruments and switching phantom power.

• Let equipment which has been stored in a damp or cold

place acclimatise in the venue first before powering it up.

It is good practice to:

• 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 the performers to long periods of loud sound, particularly with extreme equalisation. This may result in frequency selective or full range hearing loss. Ensure that any closed ear personal monitor systems in use have adequate protection limiting. This may be built into the monitor system, or it may be necessary to patch outboard limiters into the IEM mix inserts. Adhere to the sound level regulations which may apply to the venue… and common sense!

GGGGLLLL2222888800000000MMMM 20 Allen & Heath

Specifications

24 32 40

Performance

Maximum XLR input level +34dBu (inc pad) Maximum XLR output level +26dBu Internal headroom Channels +20dB, Mix +22dB Master meters 12 segment -30 to +16dB, 0VU= +4dBu XLR Channel meters 4 segment -12,0,+6+16dB (5dB before clip) Frequency response 20Hz to 50kHz +0/-1dB Mic CMRR at 1kHz > 80dB typical THD+n at +14dBu 1kHz Mic to mix out < 0.003% Crosstalk at 1kHz Fader shutoff >90dB Mute shutoff >88dB Inter channel >90dB Noise, rms 22Hz to 22kHz Mic EIN -128dB Residual output noise < -96dBu (-100dB S/N) Mix noise 24 channels < -80dBu (-84dB S/N) Channel HPF Switched 100Hz, 12dB/octave Output HPF Swept off to 400Hz, 12dB/octave Channel EQ 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 Mix 1-8 EQ HM Peak/dip +/-15dB, 500Hz to 12kHz, Q=1.6 LM Peak/dip +/-15dB, 80Hz to 2kHz, Q=1.6 Power supply External RPS11 IEC input External Input for optional RPS11 backup supply

Connections

Channel XLR balanced pin 2 hot Sensitivity -60 to +14dBu Total gain range 74dB 20dB Pad out 2k ohm, in >10k ohm Wedge Ext in XLR balanced pin 2 hot >10k ohm, 0dBu, +20dBu max IEM Ext in TRS unbalanced >10k ohm, 0dBu, +20dBu max Talkback mic XLR balanced pin 2 hot Sensitivity -50 to -10dBu Phantom power Internal jumper +48V (fitted) Inserts Channel TRS, tip send, ring return, 0dBu Output TRS, tip send, ring return, -2dBu Mix 1-16 out XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max IEM/Wedge out XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max Talkback/Osc out XLR balanced pin 2 hot <75 ohm, +4dBu, =26dBu max Headphones TRS, tip L, ring R, 30 to 600 ohm headphones recommended Lamp 4-pin XLR max 12V 5W lamp

Mechanical

Width 944mm (37.2”) 1171mm (46.1”) 1398mm (55”) Depth 650mm (25.6”) Height 170mm (6.7”)

Weight 29kg(63.8lbs) 35kg(77lbs) 41kg(90.2lbs)

GGGGLLLL2222888800000000MMMM 21 Allen & Heath

Cue Sheet 1 of 2 GL2800M

Copy and use this page to record your console settings.

GAIN

HF

12k

HM

LM

LF

80Hz

MIX

STEREO

MIX

STEREO

MIX

STEREO

MIX

STEREO

MIX

STEREO

MIX

10

MIX

11

STEREO

MIX

12

MIX

13

STEREO

MIX

14

MIX

15

STEREO

MIX

16

PK! +6

0

SIG

M1

M2

M3

M4

0

20

-15

1k

700

500Hz

-15

70

45

35Hz

-15

1

OO

PAN

2

LLL R

OO

3

OO

PAN

4

L R

OO

5

OO

PAN

6

L R

OO

7

OO

PAN

8

L R

OO

9

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

+48V

POLARITY

30

3k

180

C

6

0

5

10

20

30

+48V

POLARITY

PAD PAD PAD PAD PAD P AD PAD PAD

0

30

40

20

GAIN

50

60 40-14 6

HPF

EQ IN

00

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK!

+6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK!

+6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15

180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

+48V

POLARITY

0

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15

4k

1k

6k

700

15k

500Hz

HM

+15

-15

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

PAN

MIX

2

LLL R

+6

MIX

3

STEREO

+6

PAN

MIX

4

L R

+6

MIX

5

STEREO

+6

PAN

MIX

6

L R

+6

MIX

7

STEREO

+6

PAN

MIX

8

L R

+6

MIX

9

STEREO

+6

PAN

MIX

10

L R

+6

MIX

11

STEREO

+6

PAN

MIX

12

L R

+6

MIX

13

STEREO

+6

PAN

MIX

14

L R

+6

MIX

15

STEREO

+6

PAN

MIX

16

L R

+6

MUTE

PK!

+6

0

SIG

M1

M2

M3

M4

00

0

30

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15

3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15

180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

30

3k

180

C

+48V

POLARITY

HPF

100Hz

+15

15k

+15

EQ IN

MUTE

6

0

5

10

20

30

00

GL2800M

+48V

POLARITY

0

30

40

60 40-14 6

1k

+6

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

4k

250

4k

1k

6k

700

15k

500Hz

HM

+15

-15

180

250

70

400

LM

LF

80Hz

MIX

1

STEREO

MIX

2

MIX

3

STEREO

MIX

4

MIX

5

STEREO

MIX

6

MIX

7

STEREO

MIX

8

MIX

9

STEREO

MIX

10

MIX

11

STEREO

MIX

12

MIX

13

STEREO

MIX

14

MIX

15

STEREO

MIX

16

PK! +6

0

SIG

M1

M2

M3

M4

45

35Hz

-15

OO

PAN

LLL R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

400

1k

+15

EQ IN

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

MUTE

6

0

5

10

20

30

00

3K

2k

4k

1k

500Hz 12k

-

200

80Hz 2 k

-

40 100

15

off 400

0

5

STEREO

10

20

30

1k

6k

700

9K

500Hz 12k

HM

+

-

400

500

200

700

100

1k

80Hz 2k

LM

+

-

EQ IN

EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

AFL

IEM

10

5

0 0

5

10

20

30

00

6k

700

9K

500Hz 12k

HM

-

+

400

500

200

700

100

1k

80Hz 2k

LM

+

-

EQ IN

POLARITY PO LARITY POLARITY POLARITY POLARITY POLARITY POLARITY POLARITY

50

HPF

40 100

15

200

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16

+9 +6 +3

0

-3

10

-6

-9

-12

-16

-20

5

-30

0

5

10

20

30

00

4k

1k

6k

700

9K

HM

+

500

700

100

1k

LM

+

HPF

200

15

TB

MUTE

DIM

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

1k

6k

700

9K

500Hz 12k

HM

-

+

400

500

200

700

100

1k

80Hz 2k

LM

+

-

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

10

5

5 5 5

STEREO STEREO STEREO

10

20

30

00

4k

6k

9K

-

+

400

500

700

1k

+

-

50

40 100

200

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

10

5

0 0

5

10

20

30

00

+16 +9 +6 +3

HM

LM

0

-3

-6

-9

-12

-16

-20

-30

1k

700

200

100

HPF

15

2k

500Hz 12k

-

400

80Hz 2k

-

40 100

off 400

10

20

30

00

3K

2k

4k

1k

6k

700

9K

500Hz 12k

HM

+

-

400

500

200

700

100

1k

80Hz 2k

LM

+

-

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

AFL

IEM

10

5

0 0

5

10

20

30

00

1 2 3 4 5 6 7 8

POLARITY

POLARITY POLARITY POLARITY POLARITY P OLARITY POLARITY POLARITY

50

HPF

15

50

HPF

40 100

off 400

WEDGE

IEM

10

5

0

5

10

20

30

00

TB

MUTE

DIM

AFL

200

15

off 400

15

200

TB

MUTE

DIM

WEDGE

AFL

IEM

+16

+9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

0 0 0 0 0 0 0

STEREO STEREO STEREO STEREO

10

20

30

00

40 100

200

15

off 400

WEDGE

IEM

TB

MUTE

DIM

AFL

10

5

200

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16

+9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

5 5 5

10

20

30

00

40 100

15

off 400

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16 +9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

10

20

30

00

10

20

30

00

50

HPF

40 100

200

15

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

AFL

IEM

10

5

10

20

30

00

3K

2k

4k

1k

6k

700

9K

500Hz 12k

HM

+

-

+

400

500

200

700

100

1k

80Hz 2 k

LM

+

-

50

HPF

40 100

200

15

200

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16 +9 +6 +3

0

-3

10

-6

-9

-12

-16

-20

5

-30

10

20

30

00

50

HPF

40 100

200

15

200

off 400

TB

MUTE

DIM

WEDGE

AFL

IEM

+16 +9 +6 +3

0

-3

-6

10

-9

-12

-16

-20

-30

5

10

20

30

00

16 MIX WEDGE / IEM MONITOR CONSOLE

TALKBACK MIC

TALKBACK

OSC/NOISE

TALK

MUTE GROUPS

PFL TRIM

POWER

L R

PFL ACTIVE

EXT

IN

10

5

0

5

10

20

30

00

A

B

C

ON

EXT TB

LATCH

FOLLOW IEM

0

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

PHONES

MAXMIN

PINK NOISE 1kHz OSC

M1

M2

M3

M4

MAXMIN

+6-12

MONO

MAXMIN MAXMIN

EXT ON

MUTE

GLOBAL

SETTINGS

1-8

MIX

D

POST PRE

E

MONO STEREO

AFL

F

WEDGE IEM

9-12

MIX

G

POST PRE

H

MONO STEREO

AFL

I

WEDGE IEM

13-16

MIX

J

POST PRE

K

MONO STEREO

AFL

L

WEDGE IEM

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

WEDGEIEM

PFL ACTIVE

M

PFL ON

EXT

IN

EXT ON

MUTE

10

5

0

5

10

20

30

00

PFL

9 10 11 12 13 14 15 16 IEM WEDGE

GGGGLLLL2222888800000000MMMM 22 Allen & Heath

Cue Sheet 2 of 2 GL2800M

GL2800M

Copy and use this page to record your console settings.

+48V

POLARITY

PAD PAD PAD PAD PAD PAD PAD PAD

0

30

20

GAIN

HPF

100Hz

HF

12k

-15 3k

1k

700

500Hz

HM

+15

-15 180

70

45

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

C

PAN

MIX

2

LLL R

OO

MIX

3

STEREO

OO

C

PAN

MIX

4

L R

OO

MIX

5

STEREO

OO

C

PAN

MIX

6

L R

OO

MIX

7

STEREO

OO

C

PAN

MIX

8

L R

OO

MIX

9

STEREO

OO

C

PAN

MIX

10

L R

OO

MIX

11

STEREO

OO

C

PAN

MIX

12

L R

OO

MIX

13

STEREO

OO

C

PAN

MIX

14

L R

OO

MIX

15

STEREO

OO

C

PAN

MIX

16

L R

OO

MUTE

PK!

+6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

+15

4k

15k

250

1k

+6

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

1k

6k

700

15k

500Hz

HM

+15

-15

180

70

400

45

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

C

PAN

MIX

2

LLL R

OO

MIX

3

STEREO

OO

C

PAN

MIX

4

L R

OO

MIX

5

STEREO

OO

C

PAN

MIX

6

L R

OO

MIX

7

STEREO

OO

C

PAN

MIX

8

L R

OO

MIX

9

STEREO

OO

C

PAN

MIX

10

L R

OO

MIX

11

STEREO

OO

C

PAN

MIX

12

L R

OO

MIX

13

STEREO

OO

C

PAN

MIX

14

L R

OO

MIX

15

STEREO

OO

C

PAN

MIX

16

L R

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

HPF

100Hz

HF

12k

-15 3k

1k

4k

700

6k

500Hz

HM

+15

-15 180

70

250

45

400

35Hz

1k

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

+6

C

PAN

MIX

2

LLL R

OO

+6

MIX

3

STEREO

OO

+6

C

PAN

MIX

4

L R

OO

+6

MIX

5

STEREO

OO

+6

C

PAN

MIX

6

L R

OO

+6

MIX

7

STEREO

OO

+6

C

PAN

MIX

8

L R

OO

+6

MIX

9

STEREO

OO

+6

C

PAN

MIX

10

L R

OO

+6

MIX

11

STEREO

OO

+6

C

PAN

MIX

12

L R

OO

+6

MIX

13

STEREO

OO

+6

C

PAN

MIX

14

L R

OO

+6

MIX

15

STEREO

OO

+6

C

PAN

MIX

16

L R

OO

+6

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

+15

4k

15k

250

1k

+6

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

1k

700

6k

15k

500Hz

HM

+15

-15

180

70

45

400

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

OO

+6

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

OO

+6

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

OO

+6

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

OO

+6

MIX

9

STEREO

OO

+6

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

OO

+6

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

OO

+6

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

OO

+6

MUTE

PK!

+6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

HPF

100Hz

HF

12k

-15 3k

4k

1k

6k

700

500Hz

HM

+15

-15 180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

C

PAN

MIX

2

LLL R

OO

MIX

3

STEREO

OO

C

PAN

MIX

4

L R

OO

MIX

5

STEREO

OO

C

PAN

MIX

6

L R

OO

MIX

7

STEREO

OO

C

PAN

MIX

8

L R

OO

MIX

9

STEREO

OO

C

PAN

MIX

10

L R

OO

MIX

11

STEREO

OO

C

PAN

MIX

12

L R

OO

MIX

13

STEREO

OO

C

PAN

MIX

14

L R

OO

MIX

15

STEREO

OO

C

PAN

MIX

16

L R

OO

MUTE

PK!

+6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

40

20

GAIN

50

60 40-14 6

HF

12k

+15

-15

4k

1k

6k

700

15k

500Hz

HM

-15

250

70

400

45

1k

35Hz

LM

-15

LF

80Hz

-15

MIX

1

STEREO

+6

OO

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

PAN

MIX

16

L R

+6

OO

0

30

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15

3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15

180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK!

+6

0

SIG

M1

M2

M3

M4

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

30

3k

180

C

+48V

POLARITY

HPF

100Hz

+15

15k

+15

EQ IN

MUTE

6

0

5

10

20

30

00

+48V

POLARITY

0

30

40

60 40-14 6

4k

250

1k

+6

40

20

GAIN

50

6k

400

STEREO

HF

12k

HM

LM

LF

80Hz

MIX

10

MIX

11

MIX

12

MIX

13

MIX

14

MIX

15

MIX

16

-15

1k

700

500Hz

-15

70

45

35Hz

-15

1

OO

PAN

2

LLL R

OO

3

OO

PAN

4

L R

OO

5

OO

PAN

6

L R

OO

7

OO

PAN

8

L R

OO

9

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

50

60 40-14 6

HPF

100Hz

+15

3k

4k

6k

15k

+15

180

250

400

1k

+15

EQ IN

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

PAD PAD PAD PAD PAD PAD PAD

0

30

40

20

GAIN

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

1k

700

15k

500Hz

HM

+15

-15 180

70

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

OO

+6

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

OO

+6

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

OO

+6

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

OO

+6

MIX

9

STEREO

OO

+6

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

OO

+6

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

OO

+6

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

OO

+6

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

OO

+6

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

OO

+6

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

OO

+6

MIX

9

STEREO

OO

+6

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

OO

+6

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

OO

+6

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

OO

+6

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

20

GAIN

50

HPF

100Hz

HF

12k

+15

-15 3k

1k

4k

700

6k

500Hz

HM

+15

-15 180

70

250

45

400

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

C

PAN

MIX

2

LLL R

OO

MIX

3

STEREO

OO

C

PAN

MIX

4

L R

OO

MIX

5

STEREO

OO

C

PAN

MIX

6

L R

OO

MIX

7

STEREO

OO

C

PAN

MIX

8

L R

OO

MIX

9

STEREO

OO

C

PAN

MIX

10

L R

OO

MIX

11

STEREO

OO

C

PAN

MIX

12

L R

OO

MIX

13

STEREO

OO

C

PAN

MIX

14

L R

OO

MIX

15

STEREO

OO

C

PAN

MIX

16

L R

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

15k

1k

+6

60 40-14 6

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

250

70

400

45

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

C

PAN

MIX

2

LLL R

OO

MIX

3

STEREO

OO

C

PAN

MIX

4

L R

OO

MIX

5

STEREO

OO

C

PAN

MIX

6

L R

OO

MIX

7

STEREO

OO

C

PAN

MIX

8

L R

OO

MIX

9

STEREO

OO

C

PAN

MIX

10

L R

OO

MIX

11

STEREO

OO

C

PAN

MIX

12

L R

OO

MIX

13

STEREO

OO

C

PAN

MIX

14

L R

OO

MIX

15

STEREO

OO

C

PAN

MIX

16

L R

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15

180

250

70

400

45

1k

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

+6

OO

C

PAN

MIX

2

LLL R

+6

OO

MIX

3

STEREO

+6

OO

C

PAN

MIX

4

L R

+6

OO

MIX

5

STEREO

+6

OO

C

PAN

MIX

6

L R

+6

OO

MIX

7

STEREO

+6

OO

C

PAN

MIX

8

L R

+6

OO

MIX

9

STEREO

+6

OO

C

PAN

MIX

10

L R

+6

OO

MIX

11

STEREO

+6

OO

C

PAN

MIX

12

L R

+6

OO

MIX

13

STEREO

+6

OO

C

PAN

MIX

14

L R

+6

OO

MIX

15

STEREO

+6

OO

C

PAN

MIX

16

L R

+6

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

HPF

100Hz

HF

12k

-15 3k

1k

4k

700

6k

500Hz

HM

+15

-15

180

70

250

45

400

35Hz

1k

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

+6

C

PAN

MIX

2

LLL R

OO

+6

MIX

3

STEREO

OO

+6

C

PAN

MIX

4

L R

OO

+6

MIX

5

STEREO

OO

+6

C

PAN

MIX

6

L R

OO

+6

MIX

7

STEREO

OO

+6

C

PAN

MIX

8

L R

OO

+6

MIX

9

STEREO

OO

+6

C

PAN

MIX

10

L R

OO

+6

MIX

11

STEREO

OO

+6

C

PAN

MIX

12

L R

OO

+6

MIX

13

STEREO

OO

+6

C

PAN

MIX

14

L R

OO

+6

MIX

15

STEREO

OO

+6

C

PAN

MIX

16

L R

OO

+6

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

0

30

40

20

GAIN

50

60 40-14 6

+15

15k

1k

+6

HPF

100Hz

HF

12k

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

250

70

400

45

35Hz

LM

+15

-15

LF

80Hz

+15

-15

EQ IN

MIX

1

STEREO

OO

C

PAN

MIX

2

LLL R

OO

MIX

3

STEREO

OO

C

PAN

MIX

4

L R

OO

MIX

5

STEREO

OO

C

PAN

MIX

6

L R

OO

MIX

7

STEREO

OO

C

PAN

MIX

8

L R

OO

MIX

9

STEREO

OO

C

PAN

MIX

10

L R

OO

MIX

11

STEREO

OO

C

PAN

MIX

12

L R

OO

MIX

13

STEREO

OO

C

PAN

MIX

14

L R

OO

MIX

15

STEREO

OO

C

PAN

MIX

16

L R

OO

MUTE

PK! +6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

+48V

POLARITY

40

60 40-14 6

4k

250

1k

+6

40

20

GAIN

50

6k

400

STEREO

HF

12k

HM

LM

LF

80Hz

MIX

10

MIX

11

MIX

12

MIX

13

MIX

14

MIX

15

MIX

16

-15

1k

700

500Hz

-15

70

45

35Hz

-15

1

OO

PAN

2

LLL R

OO

3

OO

PAN

4

L R

OO

5

OO

PAN

6

L R

OO

7

OO

PAN

8

L R

OO

9

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

PAN

L R

OO

50

60 40-14 6

HPF

100Hz

+15

3k

4k

6k

15k

+15

180

250

400

1k

+15

EQ IN

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

C

+6

PAD

0

30

MUTE

PK!

+6

0

6

SIG

0

M1

5

M2

10

M3

20

M4

30

00

PFL

GGGGLLLL2222888800000000MMMM 23 Allen & Heath

PFL

Allen and Heath GL-2800-M Owners manual

Specifications and Main Features

Frequently Asked Questions

User Manual