ALLEN&HEATH
GL2200
Dual Function Audio Mixing Console
USER GUIDE
PUBLICATION: AP3388
LIMITED ONE YEAR WARRANTY
This product has been manufactured in the UK by ALLEN & HEATH and
is warranted to be free from defects in materials or workmanship for
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 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. The defective unit is to be returned carriage prepaid to ALLEN &
HEATH or its authorised agent with proof of purchase.
5. Units returned should be packed to avoid transit damage.
These terms of warranty apply to UK sales. In other territories the terms
may vary according to legal requirements. Check with your ALLEN &
HEATH agent for any additional warranty which may apply.
GL2200 User Guide AP3388 Issue 5. Copyright © 2004 Allen & Heath Limited. All rights reserved
This product complies with the European Electromagnetic Compatibility
Directives 89/336/EEC & 92/31EEC and the European Low Voltage Directives
73/23/EEC & 93/68 EEC
MANUFACTURED IN ENGLAND BY:
Allen & Heath Limited
Kernick Industrial Estate
Penryn, Cornwall, TR10 9LU. UK
http://www.allen-heath.com
ALLEN&HEATH
CONTENTS
CONTENTS ..................................................................................................... 3
INTRODUCTION, SERVICE, SAFETY & PRECAUTIONS .......................................... 4
KEY FEATURES, THE RANGE & OPTIONS ...........................................................5
CONNECTING POWER TO THE CONSOLE ............................................................ 6-7
EARTHING THE AUDIO SYSTEM ......................................................................... 7
PLUGGING UP THE CABLES...............................................................................8-9
ADJUSTING THE LEVELS...................................................................................9
FLIGHTCASING THE CONSOLE ...........................................................................10
MONO INPUT CHANNEL ................................................................................... 11-12
STEREO INPUT CHANNEL.................................................................................13-14
STEREO RETURNS & AUX MASTER OUTPUTS ................................................... 15
GROUP OUTPUTS ........................................................................................... 16
MODE SWITCHING........................................................................................... 17
MASTER & MONITOR ....................................................................................... 18
OSCILLATOR/PINK NOISE & TALKBACK ............................................................. 19
APPLICATION – FRONT OF HOUSE.................................................................... 20
APPLICATION – STAGE MONITOR...................................................................... 21
APPLICATION – DUAL MODE............................................................................ 22
FRONT PANEL LAYOUT .................................................................................... 23
REAR PANEL LAYOUT / SPECIFICATIONS & CONNECTIONS..................................24
INTERNAL LINK OPTIONS ................................................................................. 25
UE SHEETS ..................................................................................................26-27
C
GL2200 BLOCK DIAGRAM ............................................................................... COVER
GL2200 USER GUIDE
3
INTRODUCTION
The GL2200 continues ALLEN & HEATH’s commitment to provide high quality audio mixing consoles
engineered to meet the exacting requirements of today’s audio business. It brings you the latest in
high performance technology and offers the reassurance of over two decades of console manufacture
and customer support.
This user guide presents a quick reference to the function, application and installation of the GL2200.
We recommend that you read this guide fully before operating the console For further information on
the basic principles of audio system engineering please refer to one of the specialist publications
available from bookshops and audio equipment dealers.
Whilst we believe the information in this guide to be reliable we do not assume responsibility for any
inaccuracies. We also reserve the right to make changes in the interest of further product
development.
SERVICE AND TECHNICAL SUPPORT
Under normal conditions the GL2200 does not require user maintenance or internal calibration. Any
service work required should be carried out by qualified service personnel only.
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 product
range, assistance with your technical queries or simply to chat about audio matters. To help us
provide the most efficient service please keep a record of the console serial number, and date and
place of purchase to be quoted in any communication regarding this product.
SAFETY WARNING!
Mains electricity is dangerous and can kill. Mains voltage
is present within the console power supply.
Do not remove the power supply cover with mains
electricity connected. To ensure your safety, mains earth
is connected to the chassis through the power lead. Do
not remove this mains earth connection.
To avoid the risk of fire, replace the mains fuse only with
the correct value and type as indicated on the power
supply unit.
GENERAL PRECAUTIONS
Your GL2200 is ruggedly constructed to give many years of reliable operation. However, you will
extend the life of the console and preserve its cosmetics by applying these simple common sense
precautions.
• Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions
where it is likely to be subject to vibration, dust, dirt or moisture.
• Do not use any liquids to clean the control surface of the console, a soft dry brush or dry lint-free
cloth is ideal.
• Use only water or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause
damage to paint or plastic parts.
• The faders, switches and potentiometers are lubricated for life. The use of electrical lubricants on
these parts is not recommended.
• Avoid using the console close to strong sources of electromagnetic radiation (e.g. video monitors,
high power electric cabling): this may cause degradation of the audio quality due to induced
voltages in connecting leads and chassis. For the same reason, always site any external power
supply away from the unit.
4
GL2200 USER GUIDE
KEY FEATURES OF THE GL2200
The ALLEN & HEATH GL2200 offers the user the versatility to quickly adapt to the exacting demands
of live sound engineering today. The GL2200 is developed from the very successful GL2000 console,
which included mode switching to quickly convert the console from Front-of-House to On-stage
Monitor operation. In addition, the GL2200 includes 4 subgroups, 6 independent aux sends, stereo
mic/line channels, pink noise generator, 1kHz oscillator and lots more. It is built on the established
tradition of innovative British design and manufacture. The GL2200 is equally suited to home and
studio recording. Features include:
• FOH/stage-monitor dual functionality
• 4 groups, 6 auxes
• Groups, L, R and Mono outputs on balanced XLR
• 12, 16, 24 and 32 channel frames
• 2 stereo line channels with mic capability
• 2 stereo returns with mutes, faders, EQ and Aux sends
• Mutes on Groups and L-R
• Channel direct outs
• 2-track send and return
• 4-band EQ with swept mids and in/out switch
• Input metering on each channel
• Phantom Power 48V, switchable on each channel
• Inserts on all mono inputs
• Inserts on Groups (auxes) and L-R outs
• Comprehensive AFL/PFL monitoring
• Pink noise generator for speaker setup
• Oscillator for equipment line up
• Talkback facility
• High-performance internal power supply with universal mains input voltage
• Built-in combiner to add external backup power supply
• Console lamp connector
TM
• Sys-link
• Rugged build quality
The console is constructed using zinc plated steel panels and 1.6mm thick metal side plates.
Individual circuit board assemblies are accessible by removal of the steel base. A durable soft front
armrest is provided for comfort. A channel top write-on strip is provided for channel marking. High
quality reliable parts are used throughout. High performance op-amp and discrete circuits are used to
ensure low noise and sonic purity. The internal power supply is a low noise switch mode unit that can
be linked with an external DC power supply.
expandability
THE RANGE
12, 16, 24 and 32 channel models
GL2200-412
GL2200-416
GL2200-424
GL2200-432
10 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
14 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
22 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
30 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
OPTIONS
GL2200-SL1
RPS11-3C
002-225
Sys-link buss expander, one kit per console
3U rack mount power supply for backup
RPS11 to GL2200 DC cable assembly
GL2200 USER GUIDE
5
B
A
S
g
y
CONNECTING POWER TO THE CONSOLE
Refer to the SAFETY WARNING on page 4 of this User Guide. Read and understand the warnings
and instructions printed on the rear panel of the console and printed here.
Ensure adequate ventilation around the console. Do not cover the
console or position it on soft furnishin
The console must be connected to 0V ground by either the a.c.
mains input cable or by the EXTERNAL DC IN cable.
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE
WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER LE FUSI BLE AVEC UN DES MEMES CARACTERISTIQUES.
WARNING: DISCONNECT SUPPLY BEFORE CHANGING FUSE.
ATTENTION: COUPER L'ALIMENTATION AVANT DE CHANGER LE FUSIBLE.
s during operation.
WARNING: TO REDUC
SEE INST
DO NOT O
NO USER
EXTERNAL SUPPLY INTERNAL SUPPLY
ACTIVE ACTIVE
100 - 240V~
WARNING - THIS APPARATUS MUST BE EARTHED.
T1A 250V 20mm
SUPPLY VOLTAGE RANGE:
100 - 240V.AC
47-63Hz ~ 60W MAX
The GL2200 console can be powered from either the internal power supply, from an external
DC supply such as the Allen & Heath RPS11, or both together. The LED indicators on the rear
panel illuminate to indicate which supply is active.
Normally the internal power supply will be used to power the console by the standard 3 pin IEC
mains input connector. A mains cable with moulded mains plug suitable for the local supply is
supplied. Check that the correct mains lead with moulded plug has been supplied with your
console. Ensure that the IEC mains plug is fully inserted into the rear panel socket before
switching on.
POWER SUPPLY
The internal power supply for the GL2200 is a switch mode supply and will operate from a wide
range of mains input voltages. It produces the DC voltages required by the console. Before
switching on your console, check that the ac mains fuse is of the correct type and rating. This is
clearly marked on the rear panel of the console. Do not replace the fuse with any other type, as
this could become a safety hazard and will void the warranty.
AC~ mains input voltage Fuse value
100 - 230V ±10% T 1A 250V 20mm
CAUTION: For continued protection against the risk of fire, replace
fuse onl
with the correct type and value.
The console power supply unit contains no user serviceable parts.
Do not remove the cover. Refer servicing to qualified service
personnel only.
6
GL2200 USER GUIDE
An external DC supply may be used instead of, or together with the internal supply. Use only
recommended Allen & Heath power supplies or a supply approved by Allen & Heath. The use of
alternative supplies is not recommended and may cause damage.
The pin connections for the EXTERNAL DC IN connector are specified below:
In the absence of an active 100V to 230V a.c. mains supply, the GL2200 will automatically switch over
to the external DC supply unit if connected.
Always turn connected power amplifiers down or off before switching the console on or off.
In the event of an electrical storm, or large mains voltage
fluctuations, immediately switch off and disconnect all power to the
console.
Pin Voltage Current
1 -16V 1.5A
2 Audio 0V
3 Chassis 0V
4 +16V 1.5A
5 +48V 0.1A
EARTHING THE AUDIO SYSTEM
The console chassis is connected to mains earth via the power cable. Audio 0V is connected
internally to the chassis and therefore mains earth. In this way all signal returns and connector shields
are connected to mains earth at the console.
To ensure safety, do not remove the earth connection from the AC
mains plug or from EXTERNAL DC IN cable.
For best performance it is important that the earth system is solid, clean and noise-free. To prevent
mains-borne and external interference pickup from lighting equipment, motors and other mains
powered equipment it is recommended that a separate ‘clean’ mains distribution outlet is used for the
audio system.
All signal cables should have their screens connected to earth at the connector. If earth (ground) loop
problems result in audible hum or buzz then disconnect the cable screen connection at one end,
usually the destination end. This may be done within the cable plug or by operating the ‘ground lift’
switch if available on the connected equipment. Many DI boxes and power amplifiers include this
facility.
GL2200 USER GUIDE
7
PLUGGING UP THE CABLES
p
The GL2200 uses professional grade 3-pin XLR, 1/4" TRS jack and RCA PHONO sockets.
Where possible use balanced connections to prevent noise and interference pickup especially
on long cable runs. Avoid running audio cables next to AC mains, computer or lighting cables,
near thyristor dimmer units or power supplies etc. The use of low impedance sources such as
good quality microphones of 200 ohms or less significantly reduces interference pickup. Many
problems can be avoided by taking time to check that all cables are correctly wired. Avoid
reversing + and - on balanced connections as this will result in out of phase signals (reverse
polarity) causing signal cancellation effects. This situation is particularly common in multimicrophone mixing. Use professional quality cable and carefully soldered connections. The
following wiring convention is used:
CABLE WIRING
BALANCED
UNBALANCED
XLR
Pin 1 0V earth shield
Pin 2 + / hot / signal
Pin 3 - / cold
Tip
Ring
S
R
le
T
in
e
ip
v
g
e
¼" 3-POLE (STEREO) JACK PLUG
S
le
T
e
ip
v
e
¼" 2-POLE (MONO) JACK PLUG
Sleeve
Tip
Sleeve
TWIN SCREENED CABLE
SINGLE SCREENED CABLE
¼” TRS jack
Tip + / hot / signal / left / send
Ring - / cold / 0V / right / return
Sleeve 0V earth shield
1
OUTPUT
3-PIN XLR FEMALE PLUG
INPUT
3-PIN XLR MALE PLUG
OUTPUT
3-PIN XLR FEMALE PLUG
INPUT
3-PIN XLR MALE PLUG
3
2
CONSOLE
CONNECTIONS
2
3
1
1
3
Link
2
CONSOLE
2
3
1
CONNECTIONS
Sleeve
Ring
OUTPUT
CONSOLE
CONNECTIONS
UNBALANCED
SINGLE SCREENED CABLE
Link
Tip
e
g
v
ip
e
in
T
le
R
S
INPUT
¼" 3-POLE (STEREO) JACK PLUGRCA PHONO PLUG
To connect an unbalanced source to a balanced console input, link the cold input (XLR pin 3 or
jack ring) to 0V earth (pin 1 or jack sleeve) at the console. To connect a balanced console
output to an unbalanced destination link the cold output to 0V earth at the console.
Deselect input channel +48V when inputs are connected to non-phantom
owered, mic, line or unbalanced sources.
8
GL2200 USER GUIDE
CONNECTING CHANNEL INPUTS
Both microphone and line sources such as keyboards, replay devices and effects processors
can be plugged into either the jack or XLR input for convenience. The channel accepts a wide
70dB range of source levels. The balanced 3-wire input provides the best immunity to
interference pickup on long cable runs.
CONNECTING TO INSERTS
You do not need to plug anything into the insert socket for normal operation. You may, however
wish to insert a signal processor such as a compressor/limiter or noise gate into the signal path
to prevent excessive peaks or to cut down source noise. The insert lets you do this by breaking
the signal path after the input pre-amp and before the EQ in the channel input or before the
fader in the Group and L-R section. Use a Y-lead or suitable TRS jack lead to connect to the
external processor. The insert operates at 0dBu line level in the channel input and –2dBu in the
Group and L-R section. Adjust the processor input and output levels for optimum signal level.
CHANNEL DIRECT OUTPUTS
The channel direct output taps the signal off post-fader (pre-fader if the internal link option is
changed) for connection to external processing or recording equipment. This is ideal for
multitrack recording during a live performance. Here each channel can be recorded on a
separate track for mixdown later. The output is impedance balanced on TRS jack. This means
that you get the benefit of interference immunity when connecting to outboard equipment with
balanced inputs. You can, of course, also connect to unbalanced equipment. The signal
operates at nominal 0dBu line level.
ADJUSTING THE LEVELS
For best performance it is important that the connected source signals are matched to the “normal
operating level” of the console. Similarly the console outputs should be correctly matched to the
operating levels of the connected amplifiers and destination equipment. If too high, the signal peaks
will be clipped resulting in a harsh distorted sound, and if too low, the signal-to-noise ratio is reduced
resulting in excessive background hiss.
For best results, operate the console with the meters averaging ‘0’ or just below and allowing the
loudest passages and occasional peaks into the ‘yellow’. Reduce the gain if the peak indicators flash
(red). The GL2200 provides +4dBu output level at the XLR outputs for a meter reading of 0VU. It is
advisable to adjust the power amplifier input gain or fit an attenuator pad if normal console operation
results in an output level too high for the connected amplifier. Normal operation should give rise to
fader levels around the ‘0’ mark.
The GL2200 has an advanced PFL (pre-fade listen) / AFL (after-fader listen) and channel metering
system to let you listen to and check the level of signals at different points in the signal path without
affecting the main outputs. Use the channel PFL switches to set up the input GAIN controls to read an
average ‘0’ (yellow LED). Signal activity is always shown on the channel meters regardless of fader
position. The green ‘SIG’ LED lights at -20dBu to indicate signal presence, the yellow ‘0’ LED
indicates normal level, and the red ‘PEAK’ LED warns of potential overload 5dB before clipping.
GL2200 USER GUIDE
9
FLIGHTCASING THE CONSOLE
If the console is to be regularly moved we recommend that it is installed in a foam-lined flightcase.
At all times avoid applying excessive force to any knobs, switches or connectors.
Dimensions for flightcasing the console are shown below:
DIMENSIONS
Unpacked Packed
Width depth height weight(kg) Width depth height weight(kg)
GL2200-412 ........................548 ............572............155............ 16..................... 700 ............ 750 ............ 280............ 20
GL2200-416 ........................668 ............572............155............ 18..................... 815 ............ 750 ............ 280............ 23
GL2200-424 ........................920 ............572............155............ 24..................... 1065 .......... 750 ............ 280............ 29
GL2200-432 ........................1160 ..........572............155............ 30..................... 1325 .......... 750 ............ 280............ 35
RPS11 power supply ..........483 ............232 ............135............ 9.5.................... 575 ............270 ............170 ............ 11
Avoid storing or using the RPS11 in conditions of excessive heat or cold.
Position the RPS11 power supply away from the mixing console to avoid interference.
10
GL2200 USER GUIDE
MONO INPUT CHANNEL
r
GAIN
1
PAD
HF
12kHz
MF1
0
20- 103060
-150+15
3kHz
500Hz
-150+15
250Hz
48V
Ø
PAD
-30dB
40
50
30
100Hz
15kHz
The mono input channel is designed using a very high quality analogue signal path
to ensure absolute sonic purity for microphone or line level sources.
MIC INPUTS Plug a microphone source into the XLR input. If you
leave the jack input unplugged then the PAD (LINE) switch becomes a
30dB pad for the microphone. This lets you use the XLR input for high
output microphones, or for line level sources.
LINE INPUTS Plug a line level source into either the XLR or the TRS
jack input. If you use the XLR input
anything into the jack input, and that you press the PAD (LINE) switch.
If you use the TRS jack input
switch. The jack input is only selected with this switch pressed.
make sure that you do not plug
make sure that you press the PAD (LINE)
35Hz
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
ODD
PFL
L-R
1-2
3-4
0
-15 +15
0
-15 +15
OO +6
OO +6
OO +6
OO +6
PRE
OO +6
OO +6
PRE
C
L
PEAK
+6
0
10
SIG
10
EQ IN
R
MUTE
5
0
5
1kHz
48V selects +48V to the XLR input for microphones that require phantom power.
IMPORTANT NOTE : Switch off channel +48V when non-phantom powered
mic, line or unbalanced sources are to be used with the inputs.
φ
reverses the POLARITY of the input source to correct the problems often
0
encountered in microphone placement, or due to incorrectly wired cables (pin 3
hot instead of pin 2). May also helpful in reducing acoustic feedback between
0
closely positioned loudspeakers and mics in live sound mixing.
PAD (LINE) selects the line level jack input when pressed or becomes a 30dB pad
0
0
for the XLR input when no jack is plugged in. The XLR is normalled through the
unplugged jack contacts. See MIC/LINE description above.
GAIN matches the level of the input source to the normal operating level of the
console. Adjust this to read an average ‘0dB’ on the channel meter (yellow LED).
Use the PFL system to listen to the signal and fine tune the gain.
0
100Hz 18dB/Octave lo-cut filter removes low frequency noise such as microphone
0
pops, proximity effect, stage noise and transport rumble after the pre-amp stage. It
can also be used to clean up sounds that do not have much bass content, such as
vocals and cymbals. The lo-cut filter is independent of the equaliser.
EVEN
The 4-band EQ lets you adjust the tonal quality of the sound. The HF (treble) and
LF (bass) bands have a shelving response, which means that all frequencies
beyond the corner frequency are affected. Used with the 100Hz lo-cut filter you
can tailor the low frequency response exactly as you require. The centre flat
position is detented for quick resetting.
vs
10.00
0.0
-10.00
-20.00
AMPL(dBr)
FREQ(Hz)
20
30
OO
-30.00
-40.00
-50.00
-60.00
10 100 1k 10k 20k
100 Hz lo-cut filte
GL2200 USER GUIDE
HF and LF EQ
11
GAIN
1
PAD
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PFL
L-R
1-2
3-4
0
20- 103060
-150+15
3kHz
500Hz
-150+15
250Hz
35Hz
0
-15 +15
0
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
C
ODD
L
PEAK
+6
0
SIG
20
30
OO
40
PRE
PRE
-30dB
15kHz
MUTE
10
5
0
5
10
48V
Ø
PAD
100Hz
1kHz
EQ IN
R
The 2 mid frequency bands MF1 and MF2 can be swept across a wide frequency
range to tune into the exact frequency required; useful for getting the best out of
microphones or for tuning out troublesome feedback. The mid bands are
overlapping with a Q of 1.6 and can boost or cut in excess of +/- 15dB. The centre
flat position is detented for quick resetting.
50
30
MF1 EQ
MF2 EQ
Press EQ IN to switch the EQ into the signal path.
6 AUX SENDS provide feeds for foldback monitors and effects. Aux 1-4 and Aux
0
5-6 may be set to pre or post-fader using the PRE switch.
Monitor sends to the performers are usually set pre-fade (PRE), although some
0
sources such as radio mics are often set post-fade to avoid ‘dressing room’ talk
spill.
0
Effects sends to external signal processing equipment such as reverb and delay
effects units, are usually set post-fade so that the amount of effect (wet signal) is
0
always relative to the position of the fader (dry signal).
Adjust the amount of effect required for each channel using its AUX control.
The effect is returned to the mix through another channel, usually the stereo
0
0
return described later in this guide.
POST-FADE sends are post-EQ, post-mute
. PRE-FADE sends are set post-EQ,
post-mute as standard. Internal link options are available to change the source of
the pre-fade sends. Refer to the internal link options section in this user guide.
Note; AUX 1-6 feed XLR outputs with inserts when the GRP/AUX REVERSE
switches are pressed in the master section.
EVEN
PAN positions the channel signal within the stereo image or between L-R and the
groups when the routing switches are selected. The centre position is detented for
quick resetting.
MUTE switches the signal off when pressed regardless of fader position. Muted
channels are indicated by red LEDs. The channel meter continues to indicate prefader channel activity.
A 4 LED CHANNEL METER shows signal activity at all times. The green SIG
LED indicates signals greater than -20dBu, yellow ‘0’ and ‘+6’ represents normal
operating level, and red PEAK warns of potential overload 5dB before clipping.
Set the channel signal so that the meter averages between ‘0’ and ‘+6’. Back the
gain off if the red peak LED flashes.
Pressing PFL lets you listen to the channel pre-fader signal on headphones
without interrupting the main console outputs. The signal level is shown on the L-
R bargraph meters. In this way each sound can be correctly lined up and checked
at any time.
L-R, 1-2, 3-4 routing switches feed the channel signal to the L-R mix and groups
1-2, 3-4. Use the pan control to route to individual groups, i.e. left to route to L, 1,
3 and right to route to R, 2, 4. In this way subgroups may be set up in mono or
stereo to feed the main L-R mix.
A 100mm FADER provides +10dB boost above the normal ‘0’ operating level. All
post-fade aux send levels are dependent on the level of the fader.
12
GL2200 USER GUIDE
STEREO INPUT CHANNEL
Two stereo input channels are included as standard. Each features a 4-band
EQ, 6 aux sends and group routing. Use this channel for stereo sources such
as keyboards and two track players, or for returning additional effects
processors to the mix and monitors. A mic input is included so that you can
use the channel for additional mics when needed. The stereo line input can still
be routed to the mix while using the channel mic input.
The stereo inputs are on separate TRS jacks. For mono line sources plug into
the L/MONO jack socket only. For microphone sources plug into the XLR.
48V selects +48V DC to the XLR input for microphones that require phantom
power.
IMPORTANT NOTE : Switch off channel +48V when non-phantom
powered or unbalanced sources are connected to the XLR input.
φ
reverses the POLARITY of the input source to correct problems often
encountered in microphone placement, or due to incorrectly wired cables (pin 3
hot instead of pin 2). May also be helpful in reducing acoustic feedback
between closely positioned loudspeakers and mics in live sound mixing.
GAIN controls for the MIC and LINE inputs let you adjust each source
independently.
LINE TO L-R routes the stereo line source direct to the L-R mix. In this way
both the mic and stereo line inputs may be used at the same time. The mic
can be routed through the stereo channel while the line input becomes an
independent source or return to the LR mix.
MIC/LINE selects either the mic XLR or the stereo line jack inputs to the
channel. When selecting LINE on the second stereo input channel, the MIC
input section is available as the source for talkback. A green LED indicator
illuminates to confirm this. The channel can be used with the stereo line input
in the normal way while the mic is independently used for talkback.
The 4-band stereo EQ lets you adjust the tonal quality of the sound. The HF
(treble) and LF (bass) bands have a shelving response, which means that all
frequencies beyond the corner frequency are affected. The 2 mid frequencies
MF1 and MF2 provide optimum control over boomy or boxy sounds (250Hz),
and can add bite or reduce harshness to keyboards, vocals etc. (2.5kHz). The
centre flat position is detented for quick resetting.
6 AUX SENDS provide feeds for foldback monitors and effects. Aux 1-4 and
Aux 5-6 may be set to pre or post-fader using the PRE switch. The left and
right stereo signals are summed to provide aux feeds in mono.
Monitor sends to the performers are usually set pre-fade (PRE), although
some sources such as radio mics are often set post-fade to avoid ‘dressing
room’ talk spill.
Effects sends to external signal processing equipment such as reverb and
delay effects units, are usually set post-fade so that the amount of effect (wet
signal) is always relative to the position of the fader (dry signal).
Adjust the amount of effect required for each channel using its AUX control.
The effect is returned to the mix through another channel, usually the stereo
return described later in this guide.
POST-FADE sends are post-EQ, post-mute
EQ, post-mute as standard. Internal link options are available to change the
source of the pre-fade sends. Refer to the internal link options section in this
user guide.
Note; AUX 1-6 feed XLR outputs with inserts when the GRP/AUX
REVERSE switches are pressed in the master section.
12
20
MIC
GAIN
10
MIC TO TALK
0
LINE
GAIN
OO 20
HF
12kHz
MF1
2.5kHz
-15
MF2
250Hz
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
ODDLEVEN
+6
PFL
L-R
1-2
3-4
STEREO
15-16
48V
Ø
30
40
50
60dB
10
LINE
TO
L-R
MIC
MIC TO TALK
LINE
0
0
0
0
C
PEAK
0
SIG
20
30
OO
ENABLE
+15-15
+15
+15-15
+15-15
EQ IN
0
+6OO
0
+6OO
0
+6OO
0
+6OO
PRE
0
+6OO
0
+6OO
PRE
R
MUTE
10
5
0
5
10
. PRE-FADE sends are set post-
GL2200 USER GUIDE
13
12
P
/
A
F
L
20
MIC
GAIN
10
MIC TO TALK
0
LINE
GAIN
HF
12kHz
MF1
2.5kHz
-15
MF2
250Hz
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
ODDLEVEN
PFL
L-R
1-2
3-4
30
OO 20
LINE
TO
0
0
0
0
PRE
PRE
C
PEAK
+6
0
10
SIG
MUTE
5
0
5
10
48V
60dB
EQ IN
BAL positions the channel signal within the stereo image or between L-R and
Ø
40
50
the groups when the routing switches are selected. The centre position is
detented for quick resetting.
MUTE switches the signal off when pressed regardless of fader position.
Muted channels are indicated by red LEDs. The meter continues to indicate
10
pre-fader channel activity.
A 4 LED CHANNEL METER shows signal activity. The green SIG LED
indicates signals greater than -20dBu, yellow ‘0’ and ‘+6’ represents normal
L-R
operating level, and red PEAK warns of potential overload 5dB before clipping.
Set the channel signal so that the meter averages between ‘0’ and ‘+6’. Back
MIC
MIC TO TALK
LINE
ENABLE
the gain off if the red peak LED flashes.
Pressing PFL lets you listen to the channel pre-fader signal on headphones
without interrupting the main console outputs. The signal level is shown on the
+15-15
L-R bargraph meters. In this way each sound can be correctly lined up and
checked at any time.
+15
L-R, 1-2, 3-4 routing switches feed the channel signal to L-R mix and groups
1-2, 3-4. Use the pan control to route to individual groups, ie left to route to L,
+15-15
1, 3 and right to route to R, 2, 4. In this way subgroups may be set up in mono
or stereo to feed the main L-R mix.
+15-15
A 100mm FADER provides +10dB boost above the normal ‘0’ operating level.
All post-fade aux send levels are dependent on the level of the fader.
0
+6OO
0
+6OO
0
+6OO
0
+6OO
0
+6OO
0
+6OO
R
TALKBACK SIGNAL
TO OSC/TALKBACK
STEREO
CHANNEL
FADER
POST-MUTEPOST-EQ
PRE-MUTE
x2
PFL
BAL
POST
PRE
SUM
POST
PRE
SUM
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
L-R
1-2
3-4
+
MIC IN
L/MONO
R
2= +
+48V
LINE
LEV
GAIN
+
MIC TO TALK
ENABLE
(LAST STEREO ONLY)
MIC/
LINE
L
R
4-BAND
EQUALISER
HF
MF1
MF2
LF
EQ IN
PEAK
+6dB
0dB
SIG
MUTE
PRE-EQ
+
+
INTERNAL AUX LINK OPTIONS
POST-FADE
SWITCHED
PRE-FADE
STEREO
15-16
20
30
OO
LINE TO L-R
POST
PRE
4
T
T
6
-
-
F
H
1
1
E
IG
L
P
X
R
R
U
G
A
The stereo input diagram showing the
talkback and stereo line signal routing.
14
GL2200 USER GUIDE
STEREO RETURNS
HF
12kHz
0
LF
60Hz
AUX
1
AUX
2
BAL
LR
ODD
EVEN
MUTE
PFL
10
L-R
1-2
5
0
5
10
20
30
OO
STEREO
RETURN
+15-15
+15-15
0
+6OO
0
+6OO
Two stereo return inputs are provided with 2-band EQ, sends to auxes 1 & 2 and
routing to L-R mix or groups 1-2/3-4. These are normally used to return the effects
(‘wet’) signal, usually from a stereo device, to the mix. They can also be used for
additional line inputs to the mix.
A 2 band EQ provides HF and LF control with 15dB cut and boost at 12kHz and
80Hz respectively. This is often used to remove unwanted high or low frequency
noise from effects devices.
2 aux sends are provided to feed a summed left and right pre-fade post mute
signal to auxes 1 & 2. This is ideal for returning effects to the monitors without
using up valuable channel inputs.
The BAL control adjusts the balance between left and right signals, or can be used
as a pan control to route the signal to one side only by rotating fully.
MUTE switches the signal off when pressed regardless of fader position. Muted
Returns are indicated by red LEDs. Mute does affect the pre-fade aux sends.
Pressing PFL lets you listen to the channel pre-fader signal on headphones
without interrupting the main console outputs. The signal level is shown on the L-R
bargraph meters. In this way each sound can be correctly lined up and checked at
any time.
L-R/1-2 (3-4) ROUTING SWITCHES - In the up position the signal is routed to the
main L-R mix but may be returned to the corresponding pairs of subgroups for
group effects (1-2 or 3-4).
A smooth travel 60mm FADER provides precise control of the level.
AUX OUTPUTS
AUX MASTERS
Each aux mix has a master level control that adjusts the output level to match external
equipment, or to trim the monitor or effects level without affecting the mix balance. Up to +10dB
of boost is available above the nominal ‘0’ position. Auxiliary outputs are on 3-wire impedance
balanced 1/4” TRS jacks.
AFL (After Fade Listen) routes the post mix signal to the console meters and headphone
monitoring to allow checks for sound quality and mix level.
AUX
1
If MODE SWITCHING aux/groups reverse is in operation, aux master level controls are
connected to the corresponding group busses (Group 1 to Aux Master 1, etc...). Refer to
MODE SWITCHING section on page 17 for more information
AUX
0
2
OO+10
AFL AFL AFL AFL AFL AFL
GRP/AUX 1-2
REVERSE
AUX
0
3
OO+10
AUX
0
4
OO+10
GRP/AUX 3-4
REVERSE
AUX
0
5
OO+10
0
OO+10
L-R/AUX 5-6
REVERSE
AUX
6
OO+10
FOH
STAGE MONITOR
0
GL2200 USER GUIDE
15
GROUP OUTPUTS
E
GRP/AUX 1-2
REVERSE
PEAK
+6
0
SIG
L-R
C C
PAN
PAN
MUTE MUT
AFL AFL
12
10
5
0
5
10
10
5
0
5
10
PEAK
+6
0
SIG
21
GROUPS
Group outputs are controlled by 100mm travel faders which offer a
further 10dB boost above the normal ‘0’ dB operating level.
MUTE switches the group signal off when pressed regardless of fader
position. Muted channels are indicated by red LEDs.
AFL (After Fade Listen) routes the post fader signal to the console
L-R
meters and headphone monitoring to allow checks for sound quality and
mix level. The AFL signal is sourced before the MUTE switch allowing
the signal to be checked even when the group is muted.
LRLR
Each group has a 4 segment LED peak reading meter providing signal
presence indication and peak warning which illuminates approximately
5dB before clipping. Meter activity is interrupted when a group is muted.
SUB GROUPING
Sometimes it is necessary to control more than one channel
simultaneously, in the case of a drum kit or a group of backing vocalists
for example.
Route the relevant channels to groups instead of L-R, using the channel
routing switches and the pan controls.
PAN control positions the signal in the stereo image with the L-R switch
routing the group mix to the Left & Right masters. Ensure the group L-R
switch is selected to route the group signal to the L-R mix.
In this way, one group fader can control the level of several channels.
It is possible to set up mono or stereo subgroups using the channel and
group PAN controls.
20
30
OO
AUX1 AUX2
20
30
OO
AFL
SL
AUX MIX
SL
GROUP MIX
GROUP/AUX REVERSE
SL
AUX MIX
SL
GROUP MIX
L
4
T
T
6
-
-
F
F
H
1
1
A
E
/
IG
L
P
X
P
R
R
U
G
A
AUX
AFL
GROUP/LEFT
INSERT
-2dBu
AFL
AUX
AFL
GROUP/RIGHT
INSERT
-2dBu
-
FADER
MUTE
-
(GROUP CCTS ONLY)
PAN
SAME FOR
GROUP1-2, GROUP3-4, L-R
AUX1-2, AUX3-4, AUX5-6
-
FADER
MUTE
--
(GROUP CCTS ONLY)
PAN
SUBGROUPING
SUBGROUPING
PEAK
+6dB
0dB
SIG
PEAK
+6dB
0dB
SIG
L-R
L-R
BAL OUT OPTION
BAL
+
BAL
+
L POST
TO MONITOR
(L CCT ONLY)
BAL OUT OPTION
BAL
+
BAL
+
R POST
TO MONITOR
(R CCT ONLY)
AUX1
GRP
OUT
AUX AUX
GROUP1
2 = +
+4dBu
REV
1-2
AUX2
OUT
GRP
AUX AUX
GROUP2
2 = +
+4dBu
AUX3
GRP GRP
GROUP3
REV
3-4
AUX4
GRP GRP
GROUP4
AUX5
AUX
LEFT
REV
5-6
L-R
AUX6
AUX
RIGHT
Group / Aux diagram
16
GL2200 USER GUIDE
MODE SWITCHING
The GL2200 features a set of GROUP/AUX REVERSE (REV) switches, which can transpose the AUX
and GROUP controls in pairs. These switches are recessed to avoid accidental operation. Set using a
pointed object or a pen tip.
This feature allows you to set the operation of the console for Front Of House, Stage monitor or a
combination of both (Dual mode).
With the switches out, the groups operate in the conventional manner, channel grouping using the
channel routing switches.
When the REVERSE switches are pressed in, the group busses are routed to the AUX send masters
and the aux busses are routed to the GROUPS (Aux 1 to Group 1, etc). Aux 5 & 6 are routed to L-R
faders respectively.
This configuration allows the user to control up to six monitor mix levels on faders. Outputs are on
balanced XLRs for long cable runs and a signal processor (equaliser, compressor, limiter, etc.) can be
inserted into the signal path using the group and left/right INSERT jacks.
The L-R and group busses are still operational but are now routed to the aux master controls and can
be used for additional monitor or effect sends.
It is advisable to study the GL2200 block diagram to fully understand this flexible routing arrangement.
123456
Group Outputs
Aux
Sends
1
2
3
4
5
6
1234LR
1-2
3-4
5-6 / L-R
3
Groups
Press
GRP/AUX REVERSE
switches.
Aux Inserts
1
Channel
Routing
PAN
L-R
1-2
3-4
INPUT
CHANNEL
4LR
123456
2
654321
Aux Outputs
Aux Masters
Aux and Groups reversed
GL2200 USER GUIDE
17
MASTER & MONITOR
LAMP
POWER
LAMP
SEND
RECORD
L
AUX
5
OO +10
PEAK
+6
0
SIG
LR
WEDGE MONITOR
M
OO +10
10
5
0
5
10
20
30
OO
AUX5 AUX6
2-TRACK
0
R
MONITOR
LEV
3
2
1
6
OO +10
PEAK
+6
0
SIG
PFL/AFL
5
4
0
FOH
STAGE MONITOR
REPLAY
L-R
RL
TO
6
10
MUTE
L-R
2-TRK
RETURN
7
8
9
0
OO +100OO +10
MONITOR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
AUX
0
AFL AFL
L-R/AUX 5-6
REVERSE
56
MONO OUT
PFL/AFL
0
MUTE
AFL AFL
10
5
0
5
10
20
30
OO
Plug in a standard 12V “gooseneck” lamp to provide illumination of the
control panel. This should be a BNC connector type with a current
consumption of no more than 350mA.
2-TRACK RECORD AND REPLAY
Individual RCA phono sockets are provided for connecting a 2-track
stereo recorder such as a cassette or DAT machine. Connect the
recorder input (REC) connectors to the console SEND sockets and the
recorder output (PLAY) connectors to the RETURN sockets
Separate SEND and RETURN level controls adjust the signal to the
required line level and sensitivity. The console can work with both high
(+4dBu) and low (-10dBV) level equipment.
Alternatively the RETURN inputs may be used for stereo intermission
replay from a CD or similar to the main mix by pressing REPLAY TO L-
R. An LED warns that replay is selected.
The SEND may be used for recording or broadcasting the performance
in stereo, or to feed an alternative set of speakers, or drive an induction
loop hearing aid system. The send outputs are post L-R faders as
standard.
PHONES MONITOR AND BARGRAPH METERS
Use stereo headphones with a nominal impedance of 30 to 600 ohms.
Adjust the LEV control for a comfortable listening level. The phones and
the 12 segment bargraph normally meter the post fade L-R mix or the
two track return depending on the position of the L-R/2TRK switch.
Pressing any AFL/PFL button on the console will override the monitor
with the selected AFL/PFL signal. A large red LED located below the
meters indicates a PFL or AFL selection.
MONO OUTPUT
The MONO OUT / AFL/PFL switch sources the signal from either a
summed post-fader L-R mix or the AFL/PFL mix. When MONO OUT is
selected, the MONO output provides for a centre fill or sub-bass
loudspeaker, mono recording or broadcast feed. When AFL/PFL is
selected, you can feed a stage monitor engineer’s listen wedge.
This switch is recessed to avoid accidental operation. Use a pointed
object or pen tip to operate.
MAIN L-R OUTPUTS
MUTE switches the main mix signal off when pressed regardless of
fader position. Muted outputs are indicated by red LEDs.
AFL (After Fade Listen) routes the post fader mix signal to the console
meters and headphone monitoring to allow checks for sound quality and
mix level. The AFL signal is sourced before the MUTE switch allowing
the signal to be checked even when the mix signal is muted.
L-R FADERS - Individual 100mm faders adjust the main L-R mix level
with +10dB boost available above the nominal ‘0’ position. For best
performance the faders should be operated around the ‘0’ position for
normal ‘loud’ level. If you find yourself operating significantly below ‘0’
then the amplifier or recorder input is too sensitive for the console +4dBu
output. Simply turn down the amplifier or recorder level trim. If none is
available then insert an attenuator pad between the console and
connected equipment.
18
GL2200 USER GUIDE
OSCILLATOR/PINK NOISE & TALKBACK
The GL2200 oscillator section provides for two modes of operation:
1kHz Tone Mode
A 1kHz sinewave is provided for setting up input levels on external devices, such as recording
equipment, FX processors and so on.
Pink Noise Mode
A ‘pink noise’ signal, can be used to check the phase and overall frequency response of a
loudspeaker or an array of loudspeakers or for analysing the acoustics of an auditorium. Pink noise
produces equal sound energy per octave over the audio band. It has a “mellow, balanced” sound to
the human ear compared with white noise, which sounds “brilliant and hissy” due to additional energy
at high frequencies.
OSCILLATOR
1kHz/Pink Noise – Selects between the two signal types outlined above.
The level control allows adjustment from –20dBu to +20dBu.
1kHz OSC
PINK NOISE
4
3
2
1
0
OSC/NOISE
TALK
5
6
10
L-R
GRP
1-4
AUX
1-2
AUX
3-4
AUX
5-6
ON
When the TALK switch is pressed, the level of the oscillator/pink noise is reduced by
12dB.
7
L-R, GRP 1-4, AUX 1-2, AUX 3-4, AUX 5-6 routing switches assign the oscillator/pink
8
noise and talkback to the required mix busses.
9
ON – Switches the oscillator/pink noise on and off. LED indicates status. Under-panel
switch prevents accidental triggering of the oscillator during performances.
WARNING! – The oscillator/pink noise facility on the GL2200 is a powerful tool
for audio system checking and setup. However, the operator should ensure that
the ON switch is not selected during performances in order to avoid interruption
of the show and possible speaker damage by accidentally routing the oscillator
to the outputs.
TALKBACK
The talkback input is connected into the Mic input of the SECOND STEREO INPUT
CHANNEL. By selecting LINE, the signal is fed to the routing switches in the
oscillator/pink noise section and talkback is enabled when the momentary TALK
switch is pressed. Talk to several destinations at the same time by selecting a
combination of routing switches.
Use the MIC GAIN control on the stereo input channel to control talkback level.
+48V is available for microphones which require phantom power.
The ability to talk to auxes (foldback monitors) is important when using the console for
stage monitoring and cueing the performers.
The line jack inputs of the second stereo input channel can still be used when the mic
input is enabled for talkback.
4
6
-
T
1
1
L
T
H
F
P
X
F
A
R
IG
U
/
E
P
A
R
L
G
L-R
GRP1-4
AUX1-2
AUX3-4
AUX5-6
PRESS
TO
TALK
+
LEVEL
DIM
TALKBACK SIGNAL
FROM STEREO INPUT
SELECT
1KHz
OSCILLATOR
PINK
NOISE
GEN
OSC/PINK NOISE
/TALKBACK
ON
Oscillator / Pink noise generator and talkback section.
GL2200 USER GUIDE
19
FRONT OF HOUSE
p
2
4
MONO
GROUPS 1 & 2
MONO
This example shows the 4 groups,
L - R and Mono outputs feeding a
7-stack FOH amplification system.
1
The groups provide independent
control of the additional left and
right loudspeaker stacks or may
be used for zone feeds or for
3
subgrouping to the L-R mix.
L
5
inputs
MULTITRACK RECORDER
CD PLAYER
2 TRACK RECORDER
GRAPHIC EQUALISERS
GRAPHIC EQUALISERS
Graphic equalisers are used to
compensate for adverse room
acoustics. These devices help
reduce acoustic feedback and
enhance the clarity of the
sound.
playback
record
L
inserts
R
GROUPS 3 & 4
L R
FOLDBACK
pre-fade aux sends
2-TRACK
STEREO
MONITOR
RETURN
RETURN
56
RINSERT LINSERT
INSERT
SEND
M
RL
42
6
STEREO
RETURN
3421
INSERT3INSERT1INSERT
R
INSERTS
The inserts on the
channels and outputs may
be used for outboard
returns
EFFECTS
Post fader aux sends
returns
EFFECTS
Post fader aux sends
stereo chans
INSERT
INSERT
INSERT
L/MONO
L/MONO
10
15
13
STEREO
STEREO
IN
IN
LINE
IN
16
14
R
R
MIC
MIC
MIC/LINE
12
11
IN
TALKBACK
DIRECT
OUT
10
INSERT
9
8
7
LINE
LINE
LINE
IN
IN
IN
MIC/LINE
MIC/LINE
MIC/LINE
IN
IN
IN
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
9
8
7
direct outs
MULTITRACK RECORDING
Connect the inputs of the multitrack to the
channel direct out sockets to record each
channel on a se
arate track for mix down later.
effects and signal
processing devices such
as compressors, limiters
and graphic equalisers.
SIGNAL
PROCESSOR
(compressor)
insert
INSERT
INSERT
INSERT
INSERT
6
LINE
IN
MIC/LINE
IN IN
DIRECT
OUT5OUT
6
5
LINE
IN
MIC/LINE
DIRECT
INSERT
4
LINE
IN
MIC/LINE
IN
DIRECT
OUT
4
INSERT
3
2
1
LINE
LINE
LINE
IN
IN
IN
MIC/LINE
MIC/LINE
MIC/LINE
IN
IN
IN
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
3
2
1
2-TRACK RECORDING AND
INTERMISSION REPLAY
Use the console 2-track send and return
sockets for connecting a cassette or
DAT recorder and a CD player. Connect
the CD player to the console two track
return sockets for intermission replay.
This does not affect the recording
process.
AUX SENDS
Select aux 1-4 post-fade to access 4
effects processing devices. Use the
stereo returns and stereo inputs to add
the effects to L-R and mono mix.
Select aux 5-6 pre-fader for foldback
monitor sends.
20
AUX
POST
PRE
GL2200 USER GUIDE
AUX MASTERS
These switches are recessed
to avoid accidental operation.
Set using a pen tip or pointed
object.
Set the AUX REVERSE
switches to the up position for
conventional aux/group
operation
Set the LR SUM MONO
switch to up for mono out
(L+R sum)
STAGE MONITOR
STAGE MONITORS
1
2
3
4
5
6
mic
splitter
to FOH
console
AMPLIFIERS
2-TRACK
MONITOR
RETURN
5
INSERT R6LINSERT
INSERT
SEND
M
L
R
4
GRAPHIC
IN
INSERT
L/MONO
13
STEREO
IN
14
R
MIC
MIC/LINE
11
DIRECT
EQUALISERS
INSERT
INSERT
10
9
8
LINE
LINE
LINE
IN
IN
IN
MIC/LINE
MIC/LINE
IN
IN
IN
DIRECT
DIRECT
OUT
OUT
OUT
10
9
8
INSERT
7
LINE
IN
MIC/LINE
IN
DIRECT
OUT
7
inserts
STEREO
STEREO
RETURN
RETURN
4
3
2 1
INSERT
INSERT
3
2
L/MONO
15
STEREO
16
R
MIC
INSERT
12
TALKBACK
1
TALKBACK
Selecting the GRP 1-4 and L-R
switches in the OSC/NOISE
section enables talkback to the
performers using the stage
monitors.
GRAPHIC EQUALISERS
R
Graphic equalisers plugged into the console inserts are
an invaluable aid to reducing on-stage acoustic
L
feedback and enhancing the clarity of the monitors.
4
Using AFL allows the stage engineer to check the
3
operation of the equalisers in the listen wedge monitor.
2
It is best to use the same type of loudspeaker for the
engineer's monitor as those used on stage.
1
INSERT
INSERT
INSERT
INSERT
INSERT
6
5
4
LINE
LINE
LINE
IN
IN
IN
MIC/LINE
MIC/LINE
MIC/LINE
IN
IN
IN
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
6
5
4
PROCESSOR
3
2
LINE
LINE
IN
IN
MIC/LINE
MIC/LINE
IN
IN
DIRECT
DIRECT
OUT
OUT
3
2
SIGNAL
INSERT
1
LINE
IN
MIC/LINE
IN
DIRECT
OUT
1
ENGINEER'S WEDGE MONITOR
Set up the WEDGE MIX by
selecting one or a combination of
the groups/L-R AFL switches to
listen to the desired monitor
outputs. These are post insert and
therefore post graphic EQ and
post fader for accurate monitoring.
Pressing any PFL or AFL switch
allows channel set up and signal
checking.
This example shows the 6 aux
sends routed through the main
groups and L-R outputs to provide
6 independent stage monitor
mixes with metering, MUTE
switches, inserts and balanced
XLR connectors.
The AUX/GROUP reverse
switches reroute the group and LR mix to the aux jacks outputs for
additional monitoring or effect
sends or as independent submix
facilities. For example, aux 5 and
6 jack outputs may provide a
seperate stereo mix output from
the channel L-R routing switches
and the additional 4 stereo return
line inputs.
Use the groups to add effects
such as delay, reverb or echo to
the stage monitors.
AUX
PRE
PRE
GL2200 USER GUIDE
These switches are recessed to
avoid accidental operation. Set
using a pen tip or pointed object.
Set the AUX REVERSE switch to
the down position (below panel) to
route the aux mix through the
groups and L-R XLR outputs for
stage monitor level control with
fader.
Set LR SUM MONO switch to down
(below panel) for engineer's listen
wedge following PFL/AFL.
21
DUAL MODE
L
3
MONO
1
AUX 3 & 4
AUX 1 & 2
COMPRESSORS/LIMITERS
These are used to prevent
excessive peaks overloading the
amplification system, for
example in club installations
subject to sound level control.
COMPRESSOR / LIMITER
R
L
inserts
L R
MONO
STAGE MONITOR
pre-fade aux sends
STAGE MONITOR
pre-fade aux sends
aux 6
aux 5
MONITOR
5
INSERT6R INSERTL
M
R
R
MULTITRACK RECORDING
Connect the inputs of the multitrack to the aux
jack outputs. These are now the group mix
outputs. Any unused multitrack inputs can be
connected to the channel direct out sockets to
record each channel on a separate track for mix
4
down later.
2
MULTITRACK RECORDER
EFFECTS
returns
Post fader aux sends
returns
GRAPHIC
inserts
EQUALISERS
4
3
2
1
2-TRACK
RETURN
STEREO
STEREO
RETURN
RETURN
4 3
2 1
INSERT
INSERT
INSERT
SEND
L
INSERT
3
1
2
4
INSERT
INSERT
INSERT
INSERT
INSERT
L/MONO
L/MONO
10
9
15
13
STEREO
STEREO
IN
IN
16
14
R
R
MIC
MIC
12
11
TALKBACK
8
LINE
LINE
LINE
IN
IN
IN
MIC/LINE
MIC/LINE
MIC/LINE
IN
IN
IN
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
10
9
8
INSERT
7
6
5
LINE
LINE
LINE
IN
IN
IN
MIC/LINE
MIC/LINE
MIC/LINE
IN
IN
IN
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT5OUT
7
6
PROCESSOR
(compressor)
insert
INSERT
INSERT
4
3
LINE
LINE
IN
IN
MIC/LINE
MIC/LINE
IN
IN
DIRECT
DIRECT
OUT
4
3
SIGNAL
INSERT
2
LINE
IN
MIC/LINE
IN
DIRECT
OUT
2
INSERT
1
LINE
IN
MIC/LINE
IN
DIRECT
OUT
1
This example shows the
console configured to control
a Left, Right and Centre Front
of House system with 4 full
feature stage monitor mixes.
Stage monitor sends aux 1-4
are set pre-fade so that the
signal level is not affected by
the fader position and the
FOH mix.
Aux 5-6 are set post-fade to
access two effects devices
whose outputs are added to
the L-R mix via stereo returns
AUX
PRE
POST
1 and 2. Alternatively, these
may be connected to the
stereo channels.
The channel and output
inserts may be used for
outboard effects and signal
processors such as
compressors, limiters and
graphic equalisers.
groups 1 & 2
direct outs 1-6
GRAPHIC EQUALISERS
Graphic equalisers plugged into the inserts are an
invaluable aid to reducing on-stage acoustic
feedback and enhancing the clarity of the monitors.
These switches are recessed
aux 1- 4
to avoid accidental operation.
Set using a pen tip or pointed
L- R
object.
Set the AUX REVERSE switch
to the down position (below
panel) to route aux mixes 1-4
through groups 1-4. Set L-R
switch in the up position for
conventional operation.
Set LR SUM MONO switch to
up for mono out (L+R sum).
22
GL2200 USER GUIDE
FRONT PANEL LAYOU T
GAIN
10
PAD
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PFL
L-R
1-2
3-4
0
20- 103060
-150+15
3kHz
500Hz
-150+15
250Hz
35Hz
0
-15 +15
0
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
C
ODD
L
PEAK
+6
0
SIG
48V
Ø
PAD
-30dB
40
50
30
100Hz
15kHz
1kHz
EQ IN
0
0
0
0
PRE
0
0
PRE
EVEN
R
MUTE
10
5
0
5
10
11
20
MIC
GAIN
10
0
LINE
GAIN
HF
12kHz
MF1
2.5kHz
-15
MF2
250Hz
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
ODDLEVEN
PFL
L-R
1-2
3-4
30
OO 20
LINE
TO
0
0
0
0
PRE
PRE
C
PEAK
+6
0
SIG
48V
60dB
10
+15-15
+15
+15-15
+15-15
EQ IN
+6OO
+6OO
+6OO
+6OO
+6OO
+6OO
R
MUTE
10
5
0
5
10
48V
12
Ø
40
50
L-R
MIC
LINE
MIC
GAIN
LINE
GAIN
12kHz
MF1
2.5kHz
MF2
250Hz
HF
LF
60Hz
20
10
MIC TO TALK
0
OO 20
-15
Ø
30
40
50
60dB
10
LINE
L-R
TO
MIC
LINE
MIC TO TALK
0
0
0
0
ENABLE
+15-15
+15
+15-15
+15-15
EQ IN
AUX
1
0
AUX
2
0
AUX
3
0
AUX
4
0
1kHz OSC
PINK NOISE
0
+6OO
3
0
2
1
+6OO
0
+6OO
0
+6OO
PRE
AUX
5
0
AUX
6
0
BAL
+6OO
+6OO
PRE
C
ODDLEVEN
R
0
OSC/NOISE
0
TALK
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
HF
12kHz
+15-15
0
LF
60Hz
+15-15
AUX
1
AUX
2
BAL
0
+6OO
0
+6OO
LR
ODD
EVEN
MUTE
PFL
10
L-R
1-2
5
0
5
10
20
30
OO
STEREO
RETURN
5
4
6
7
8
9
0
AUX
10
1
L-R
GRP
1-4
AUX
1-2
AUX
3-4
AUX
5-6
ON
PAN
AUX
0
OO +10
AFL AFL AFL AFL AFL AFL
GRP/AUX 1-2
REVERSE
PEAK
+6
0
SIG
L-R
C C C
PAN
MUTE MUTE MUTE MUTE MUTE
HF
12kHz
0
LF
60Hz
AUX
1
AUX
2
BAL
LR
ODD
EVEN
PFL
10
L-R
3-4
5
+15-15
+15-15
0
+6OO
0
+6OO
MUTE
LAMP
POWER
SEND
OO +100OO +10
RECORD
L
MONITOR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
2-TRACK
0
RETURN
REPLAY
TO
L-R
R
0
5
L-R/AUX 5-6
REVERSE
MONO OUT
PFL/AFL
0
0
MONITOR
LEV
2
AUX
6
PFL/AFL
4
3
1
0
OO +10
FOH
STAGE MONITOR
PEAK
+6
0
SIG
5
6
7
8
9
10
L-R
2-TRK
0
10
20
30
OO
STEREO
RETURN
AUX
0
2
OO +10
PEAK
+6
0
SIG
3
2134LR
L-R
PAN
OO +10
GRP/AUX 3-4
REVERSE
PEAK
+6
0
SIG
L-R
LRLRLR
AUX
0
4
PAN
0
OO +10
PEAK
+6
0
SIG
L-R
C
LR
AUX
5
OO +10
PEAK
+6
0
SIG
56
WEDGE MONITOR
M
OO +10
MUTE
AFL AFL AFL AFL AFL AFL
1432RL
10
5
0
5
10
5
0
5
10
5
0
5
10
5
0
5
10
5
0
5
10
5
0
5
1-2
10
3-4
10
10
10
10
10
10
20
30
OO
STEREO
13-14
20
30
OO
STEREO
15-16
20
30
OO
GL2200 USER GUIDE
20
30
OO
AUX1 AUX2 AUX3 AUX4 AUX5 AUX6
20
30
OO
20
30
OO
20
30
OO
20
30
OO
20
30
OO
23
REAR PANEL LAYOU T
2-TRACK
STEREO
MONITOR
TIP L
RING R
AUX
6
RINSERT
L
M
OUT
R
OUT
6
20
RETURN
RETURN
R
AUX3AUXAUX
5
4
SEND
L
OUT
5
4
OUT
STEREO
19
18
RETURN
RL/MONO
AUX AUX
INSERTINSERT INSERT INSERT INSERT
OUT OUT
2
OUT
SYS-LINK
IN
17
L/MONO
12
GRP
SYS-LINK
OUT
13
GRP/AUX
REVERSE
AUX
TALKBACK
L/MONO
15
STEREO
IN
R
MIC
12
EXTERNAL SUPPLY INTERNAL SUPPLY
ACTIVE ACTIVE
L/MONO
13
STEREO
IN
1416
R
MIC
11
CAUTION: FOR CONTINUED PROT ECTION AGAINST RI SK OF FIRE REPLACE FUSE
WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
WARNING: DISCONNECT SUPPLY BEFORE CHANGING FUSE.
ATTENTION: COUPER L'ALIMENTATION AVANT DE CHANGER LE FUSIBLE.
SPECIFICATIONS
0 dBu = 0.775 Volts rms 0 dBV = 1 Volt rms
HEADROOM:.............................................................. +21dB
MAX OUTPUT: .............. ……XLR +25dBu 2kohm max load
............................................JACK +21dBu 2kohm max load
METERS: L, R……………….peak reading 12 bar LED
Groups 1-4……….peak reading 4 segment LED
Channels…………peak reading 4 segment LED
PEAK LEDs: .............................Turn on 5dB before clipping
FREQUENCY RESPONSE referred to 1kHz @ +4dBu:
Any input to any output .....................20Hz to 30kHz +0/-1dB
DISTORTION: THD+Noise @ +14dBu 1kHz
Mic in to L-R output, 40dB gain .................................0.010%
Line in to L-R output, 0dB gain ..................................0.008%
CMRR
Mic in, 40dB gain @ 1kHz .......................................... >88dB
CONNECTIONS
10
98
LINE
LINE
IN
IN
MIC/LINE
MIC/LINE MIC/LINE
IN
DIRECT
OUT
OUT
10
9
T1A 250V 20mm
100 - 240V~
WARNING - THIS APPARATUS MUST BE EARTHED.
LINE
IN
ININ
DIRECTDIRECT
OUT
8
SUPPLY VOLTAGE RANGE:
100 - 240V.AC
47-63Hz ~ 60W MAX
INSERTINSERTINSERTINSERTINSERT
76
LINE
IN
MIC/LINE MIC/LINE
OUT
7
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE
SEE INSTALLATION INSTRUCTIO NS BEFORE CONNECTING TO THE SUPPLY
DO NOT OBSTRUCT VENTILATION OP ENINGS
NO USER SERVICEABLE PARTS INSIDE
LINE
IN
ININ
DIRECTDIRECT
OUT
6
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
54
LINE
IN
MIC/LINE MIC/LINE
OUT
5
CAUTION
LINE
IN
ININ
DIRECTDIRECT
OUT
4
CROSSTALK: Referred to driven channel @ 1kHz
Adjacent channel ……………………………………... < -90dB
Channel fader off.......................................................< -90dB
Channel mute on .......................................................< -90dB
Channel Pan pot isolation .........................................< -80dB
NOISE: Measured rms, 22kHz bandwidth
Mic input EIN (150 ohm source).............................. < -128dB
Line preamp, 0dB gain ............................................< -83dBu
L-R output residual noise .....................< -92dBu (96dB S/N)
L-R faders ‘0’, nothing routed ...............< -88dBu (92dB S/N)
L-R mix noise (16 channels routed) .....< -83dBu (87dB S/N)
Group, faders ‘0’, nothing routed..........< -91dBu (95dB S/N)
Group mix noise (16 channels routed).< -83dBu (87dB S/N)
POWER SUPPLY: ....................100 to 240V AC @ 47/63Hz
....................................Internal, autosensing AC mains input
Power consumption:...............................................60W max
Mains Fuse rating 100-240VAC: ............... T1A 250V 20mm
32
LINE
LINE
IN
IN
MIC/LINE MIC/LINE
ININ
DIRECTDIRECT
OUT
OUT
3
2
INSERTINSERTINSERTINSERTINSERT
MIC/LINE
DIRECT
1
LINE
IN
IN
OUT
1
INPUTS:
Mic in.............................. XLR......................... pin 2 hot, 3 cold, balanced .................... >2k Ohm.......... variable -60 to -20dBu
Line in ............................ XLR......................... pin 2 hot, 3 cold, balanced .................... >10k Ohm ........variable -30 to +10dBu
or TRS jack ................. tip hot, ring cold, balanced .................... >10k Ohm........ variable -30 to +10dBu
Stereo Ch Line in ........... TRS jack................. tip hot, unbalanced................................ >8k Ohm .........-20dBu min
Stereo Return ................ TRS jack................. tip hot, unbalanced................................ >6k Ohm ..........-10dBV min
2-Track Return............... RCA PHONO .......... unbalanced............................................ >10k Ohm ........-10dBV min
Insert Return .................. TRS jack ................. tip send, ring return, unbalanced........... >6k Ohm ..........0dBu (chan), -2dBu (out)
OUTPUTS:
L-R, Group out ............... XLR......................... pin 2 hot, 3 cold, balanced .................... <75 Ohm.......... +4dBu, +27dBu max
Direct out ....................... TRS jack................. tip hot, impedance balanced ................. <75 Ohm.......... 0dBu
2-Track sends ................ RCA PHONO.......... unbalanced ............................................ <75 Ohm.......... variable +21dBu max
Aux out.......................... TRS jack ................. tip hot, impedance balanced ................. <75 Ohm.......... variable +21dBu max
Mono out........................ XLR......................... pin 2 hot, 3 cold, balanced .................... <75 Ohm..........+4dBu, +27dBu max
Insert send ..................... TRS jack................. tip send, ring return, unbalanced........... <75 Ohm..........0dBu (chan), -2dBu (out)
Monitor out..................... TRS jack ................. tip left, ring right, unbalanced ................ <75 Ohm..........variable +21dBu max
Phones out..................... TRS jack ................. tip left, ring right..................................... for stereo headphones 30 to 600 Ohms
24
GL2200 USER GUIDE
INTERNAL LINK OPTIONS
The console is set to satisfy most applications that should be encountered. However, the following
internal link options are offered to provide alternative settings for those applications that may require
them. These options involve resoldering of circuit board links and should only be carried out by
competent technical personnel. Further information is available in the GL2200 SERVICE MANUAL
and from your agent.
MONO & STEREO INPUT
1. Reconfigure each aux as required to be permanently pre-fade or post-fade rather than
switched by the front panel PRE switch.
2. Reconfigure the pre-fade sends to be pre-EQ / pre-mute, or post-EQ / pre-mute, instead
of the standard post-EQ / post-mute.
3. Disable +48V phantom power regardless of panel switch position - remove link.
4. Reconfigure the Direct Out Source to be pre-fade or post-fade.
MONO
E
T
E
T
U
Q
U
M
E
Q
-
M
E
T
T
S
S
E
E
O
R
O
R
P
P
P
P
E
D
E
D
E
D
A
H
F
A
-
C
F
T
-
T
I
S
E
R
W
O
P
S
P
T
E
U
E
D
O
D
A
E
E
T
F
A
C
L
-
F
C
R
V
T
-
B
P
E
8
U
S
E
A
P
4
R
I
R
N
O
O
+
P
E
S
P
D
STEREO
AUX 6
CUT LINKS
INSERT IC
SSM2142
CONNECTOR
AUX 5
CUT LINKS
INSERT IC
SSM2142
L22 GROUP
AG3425
GROUP
T
H
G
I
R
AUX 2/4
CUT LINKS
INSERT IC
SSM2142
AUX 1/3
CUT LINKS
INSERT IC
SSM2142
L22 STEREO
AG3428
E
E
E
E
T
T
T
T
U
U
T
U
U
F
M
M
-
-
M
M
E
T
T
L
E
E
S
S
R
R
O
O
P
P
P
P
Q
Q
T
Q
Q
T
E
E
H
E
E
F
-
T
T
G
E
E
E
I
L
S
S
R
R
R
O
O
P
P
P
P
E
L
V
B
P
8
A
P
4
N
+
E
LEFT
L22 LEFT
AG3426
LEFT & CONNECTOR
For Aux out 5 & 6 balance option with
jack output tip = hot, ring = cold. Remove
two links and plug in balance driver IC.
GROUP
For Aux out 1-4 balance option with jack
output tip = hot, ring = cold. Remove two
links and plug in balance driver IC.
GL2200 USER GUIDE
25
GL2200 CUE SHEET - INPUTS
Copy this sheet and use it to record the console settings.
1 Ø
0
GAIN
PAD
20- 103060
HF
12kHz
-150+15
500Hz
MF1
-150+15
35Hz
MF2
-15 +15
LF
60Hz
-15 +15
AUX
1
OO +6
AUX
2
OO +6
AUX
3
OO +6
AUX
4
OO +6
AUX
5
OO +6
AUX
6
OO +6
PAN
ODD
L
PEAK
+6
0
SIG
PFL
L-R
1-2
3-4
48V
48V
48V
48V
48V
48V
48V
48V
48V
48V
48V
48V
2 Ø
3 Ø
4 Ø
5 Ø
6 Ø
7 Ø
8 Ø
9 Ø
10 Ø
11 Ø
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
-30dB
-30dB
-30dB
-30dB
-30dB
-30dB
-30dB
0
0
0
0
0
20- 103060
-150+15
500Hz
-150+15
35Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
ODD
L
PEAK
+6
0
SIG
PFL
0
40
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
3kHz
15kHz
500Hz
MF1
-150+15
250Hz
250Hz
35Hz
1kHz
0
0
MF2
-15 +15
0
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
40
40
40
40
GAIN
GAIN
50
50
PAD
30
20- 103060
30
100Hz
100Hz
HF
12kHz
-150+15
3kHz
3kHz
15kHz
500Hz
15kHz
MF1
-150+15
250Hz
250Hz
35Hz
1kHz
0
0
PRE
PRE
C
10
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
EQ IN
AUX
1
0
0
OO +6
AUX
2
0
0
OO +6
AUX
3
0
0
OO +6
AUX
4
0
0
OO +6
PRE
AUX
5
0
0
OO +6
AUX
6
0
0
OO +6
PRE
C
PAN
EVEN
EVEN
ODD
R
R
L
MUTE
MUTE
PEAK
+6
0
10
SIG
5
5
PFL
0
0
L-R
5
5
1-2
1
1
3-4
PAD
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PFL
L-R
1-2
3-4
20- 103060
-150+15
500Hz
-150+15
35Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
ODD
L
PEAK
+6
0
SIG
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
3kHz
15kHz
500Hz
MF1
-150+15
250Hz
250Hz
35Hz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
40
GAIN
PAD
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
L-R
1-2
3-4
20- 103060
-150+15
500Hz
-150+15
35Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
ODD
PEAK
+6
0
SIG
PFL
GAIN
50
PAD
30
100Hz
HF
12kHz
3kHz
15kHz
MF1
250Hz
1kHz
0
MF2
0
LF
60Hz
EQ IN
AUX
1
0
AUX
2
0
AUX
3
0
AUX
4
0
PRE
AUX
5
0
AUX
6
0
PRE
C
PAN
EVEN
R
L
MUTE
10
5
0
L-R
5
1-2
1
3-4
50
30
100Hz
15kHz
1kHz
0
0
EQ IN
0
0
0
0
PRE
0
0
PRE
C
EVEN
R
MUTE
10
5
0
5
1
-30dB
0
20- 103060
-150+15
3kHz
500Hz
-150+15
250Hz
35Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
ODD
L
PEAK
+6
0
SIG
0
40
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
15kHz
500Hz
MF1
-150+15
250Hz
35Hz
1kHz
0
0
MF2
-15 +15
0
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
40
GAIN
50
PAD
30
100Hz
HF
12kHz
15kHz
MF1
1kHz
MF2
LF
60Hz
EQ IN
AUX
1
0
AUX
2
0
AUX
3
0
AUX
4
0
PRE
AUX
5
0
AUX
6
0
PRE
PAN
EVEN
R
MUTE
10
5
PFL
0
L-R
5
1-2
1
3-4
PAD
-30dB
-30dB
0
40
40
GAIN
50
50
PAD
30
20- 103060
30
100Hz
100Hz
HF
12kHz
-150+15
3kHz
15kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
1kHz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
EQ IN
AUX
1
0
0
OO +6
AUX
2
0
0
OO +6
AUX
3
0
0
OO +6
AUX
4
0
0
OO +6
PRE
PRE
AUX
5
0
0
OO +6
AUX
6
0
0
OO +6
PRE
PRE
C
PAN
EVEN
EVEN
ODD
R
R
L
MUTE
MUTE
PEAK
+6
0
10
10
SIG
5
5
PFL
0
0
L-R
5
5
1-2
1
1
3-4
GAIN
12kHz
AUX
AUX
AUX
AUX
AUX
AUX
PAD
HF
MF1
MF2
LF
60Hz
PAN
L-R
1-2
3-4
35Hz
1
2
3
4
5
6
ODD
PFL
0
20- 103060
-150+15
3kHz
500Hz
-150+15
250Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
L
PEAK
+6
0
SIG
12 Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
15kHz
500Hz
MF1
-150+15
250Hz
35Hz
1kHz
0
0
MF2
-15 +15
0
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
13 Ø
GAIN
PAD
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
L-R
1-2
3-4
500Hz
35Hz
ODD
PFL
0
20- 103060
-150+15
3kHz
-150+15
250Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
L
PEAK
+6
0
SIG
14 Ø
PAD
-30dB
0
40
40
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
15kHz
500Hz
MF1
-150+15
250Hz
35Hz
1kHz
0
0
MF2
-15 +15
0
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
PRE
C
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
PAD
-30dB
40
50
30
100Hz
15kHz
1kHz
EQ IN
0
0
0
0
PRE
0
0
PRE
EVEN
R
MUTE
10
5
0
5
1
48V
48V
15
30
20
PAD
-30dB
MIC
GAIN
10
50
30
0
100Hz
LINE
GAIN
OO 20
15kHz
0
HF
12kHz
0
MF1
2.5kHz
-15
1kHz
0
MF2
250Hz
0
LF
60Hz
EQ IN
AUX
1
0
AUX
2
0
AUX
3
0
AUX
4
0
AUX
5
0
AUX
6
0
C
BAL
ODDLEVEN
EVEN
R
MUTE
PEAK
+6
0
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
16
Ø
Ø
30
40
20
40
50
50
MIC
GAIN
60dB
60dB
10
MIC TO TALK
10
10
0
LINE
GAIN
OO 20
LINE
LINE
L-R
TO
PRE
PRE
L-R
TO
MIC
MIC
LINE
LINE
0
HF
12kHz
+15-15
+15-15
0
MF1
2.5kHz
+15
+15
-15
0
MF2
250Hz
+15-15
+15-15
0
LF
60Hz
+15-15
+15-15
EQ IN
EQ IN
AUX
1
0
+6OO
+6OO
+6OO
+6OO
+6OO
+6OO
R
MUTE
10
5
0
5
1
0
+6OO
AUX
2
0
0
+6OO
AUX
3
0
0
+6OO
AUX
4
0
0
+6OO
PRE
AUX
5
0
0
+6OO
AUX
6
0
0
+6OO
PRE
C
BAL
ODDLEVEN
R
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
NOTES:
26
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
20
20
30
OO
STEREO
25-26
20
30
30
OO
OO
STEREO
27-28
GL2200 USER GUIDE
GL2200 CUE SHEET – MASTER & INPUTS
Copy this sheet and use it to record the console settings.
HF
12kHz
0
LF
60Hz
AUX
1
AUX
2
BAL
LR
ODD
HF
12kHz
+15-15
LF
60Hz
+15-15
AUX
1
0
+6OO
AUX
2
0
+6OO
BAL
EVEN
MUTE
LR
ODD
PFL
10
L-R
1-2
10
20
1kHz OSC
PINK NOISE
3
2
1
OSC/NOISE
TALK
4
0
30
OO
STEREO
RETURN
5
6
7
8
9
AUX2AUX3AUX4AUX5AUX6AUX
10
1
L-R
OO +10
GRP
1-4
GRP/AUX 1-2
REVERSE
AUX
1-2
PEAK
+6
AUX
3-4
0
SIG
AUX
5-6
ON
C C C
PAN
10
5
0
5
10
L-R
3-4
5
0
5
10
20
30
OO
STEREO
RETURN
0
0
OO +10
OO +10
AFL AFL AFL AFL AFL AFL
PEAK
PEAK
+6
+6
0
0
SIG
SIG
21 34LR
L-R
L-R
PAN
PAN
MUTE MUTE MUTE MUTE MUTE
AFL AFL AFL AFL AFL AFL
1432RL
10
10
LRLRLR
10
5
5
0
0
5
5
10
0
EVEN
PFL
10
5
0
5
GRP/AUX 3-4
REVERSE
L-R
POWER
LAMP
+15-15
+15-15
0
+6OO
0
+6OO
MUTE
SEND
OO +100OO +10
RECORD
L
MONITOR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
2-TRACK
0
RETURN
REPLAY
TO
L-R
R
PFL/AFL
MONITOR
5
LEV
4
6
7
3
2
8
9
1
10
0
L-R
2-TRK
0
0
0
0
OO +10
OO +10
OO +10
L-R/AUX 5-6
FOH
REVERSE
STAGE MONITOR
PEAK
PEAK
+6
+6
0
0
SIG
SIG
56
MONO OUT
PFL/AFL
WEDGE MONITOR
0
OO +10
MUTE
10
5
0
5
10
PAN
10
5
0
5
10
PEAK
+6
0
SIG
L-R
C
LR
M
10
5
0
5
10
17
GAIN
PAD
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
L-R
1-2
3-4
0
20- 103060
-150+15
500Hz
-150+15
35Hz
-15 +15
-15 +15
OO +6
OO +6
OO +6
OO +6
OO +6
OO +6
ODD
L
PEAK
+6
0
SIG
PFL
48V
PAD
-30dB
40
3kHz
15kHz
250Hz
0
0
EQ IN
PRE
PRE
C
R
MUTE
10
5
0
5
1
48V
18
Ø
100Hz
1kHz
EVEN
Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
19
Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
20
Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
100Hz
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
21
Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
100Hz
1kHz
EVEN
100Hz
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
22
Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
23
Ø
PAD
-30dB
0
40
GAIN
50
PAD
30
20- 103060
100Hz
1kHz
EVEN
100Hz
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
48V
24
Ø
PAD
-30dB
0
40
GAIN
50
30
50
PAD
20- 103060
30
100Hz
HF
12kHz
-150+15
3kHz
500Hz
15kHz
MF1
-150+15
250Hz
35Hz
1kHz
0
MF2
-15 +15
0
LF
60Hz
-15 +15
EQ IN
AUX
1
0
0
0
0
0
0
0
OO +6
AUX
2
0
OO +6
AUX
3
0
OO +6
AUX
4
0
OO +6
PRE
AUX
5
0
OO +6
AUX
6
0
OO +6
PRE
C
PAN
EVEN
ODD
R
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
0
L-R
5
1-2
1
3-4
NOTES:
20
20
20
20
20
30
30
30
30
30
OO
OO
OO
OO
OO
AUX1 AUX2 AUX3 AUX4 AUX5 AUX6
20
30
OO
20
30
OO
25 26 27 28 29 30 31 32
GL2200 USER GUIDE
20
30
OO
20
30
OO
20
30
OO
20
30
OO
20
30
OO
20
30
OO
20
30
OO
27
LINE IN
BAL
MIC/LINE IN
INSERT
0dBu
DIRECT
OUT
0dBu
MIC IN
L/MONO
R
BLOCK DIAGRAM
PAD
-30dBu
GAIN
2= +
+48V
TIP = SEND
RING = RETURN
TIP = +
RING = -
GAIN
2= +
+48V
LINE
+
LEV
+
+
+
LO-CUT
FILTER
MIC TO TALK
ENABLE
(LAST STEREO ONLY)
MIC/
LINE
4-BAND 2-SWEEP
EQUALISER
HF
MF1
MF2
LF
PRE FADER
POST FADER
INTERNAL AUX LINK OPTIONS
TALKBACK SIGNAL
TO OSC/TALKBACK
4-BAND
EQUALISER
HF
MF1
L
R
MF2
LF
INTERNAL AUX LINK OPTIONS
EQ IN
EQ IN
PEAK
+6dB
0dB
SIG
MUTE
POST-EQ
PRE-EQ
PRE-FADE
SWITCHED
POST-FADE
PEAK
+6dB
0dB
SIG
MUTE
PRE-EQ
POST-FADE
SWITCHED
PRE-FADE
SL
MONO
CHANNEL
x10, 14, 22 or 30
FADER
+
POST-MUTE
PRE-MUTE
STEREO
CHANNEL
FADER
+
POST-MUTEPOST-EQ
PRE-MUTE
LINE TO L-R
=SYSLINK
PFL
PRE-FADE
POST-FADE
PFL
OPTION
POST
PRE
POST
PRE
POST
PRE
SUM
POST
PRE
POST
PRE
PAN
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
BAL
SUM
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
4
6
-
T
1
L
1
T
H
F
P
X
F
A
R
IG
U
/
E
G
A
R
P
L
L-R
GRP1-4
AUX1-2
AUX3-4
AUX5-6
L-R
1-2
3-4
L-R
1-2 (3-4)
PRESS
TO
TALK
+
BAL
AUX 1
AUX 2
DIM
STEREO RETURN x2
PFL
LEVEL
TALKBACK SIGNAL
FROM STEREO INPUT
-
-
SUM
SELECT
FADER
1KHz
OSCILLATOR
PINK
NOISE
GEN
AFL
SL
AUX MIX
SL
GROUP MIX
AUX
AFL
GROUP/LEFT
INSERT
-2dBu
-
FADER
-
MUTE
(GROUP CCTS ONLY)
PAN
SUBGROUPING
GROUP/AUX REVERSE
SAME FOR
GROUP1-2, GROUP3-4, L-R
AFL
SL
AUX MIX
x2
SL
L-R
1-2
3-4
GROUP MIX
AFL
INSERT
-2dBu
AUX1-2, AUX3-4, AUX5-6
AUX
-
GROUP/RIGHT
FADER
MUTE
--
L POST-FADE
R POST-FADE
SUBGROUPING
(GROUP CCTS ONLY)
PAN
+
+
L
LR SUM
-
R
MONO OUT
PFL/AFL
P/AFL DC
P/AFL MIX
SL
MUTE
PEAK
+6dB
0dB
SIG
L-R
PEAK
+6dB
0dB
SIG
L-R
2-TRK SEND
L
OSC/PINK NOISE
/TALKBACK
ON
2-BAND
EQUALISER
HF
LF
BAL OUT OPTION
BAL
+
BAL
+
L POST
TO MONITOR
(L CCT ONLY)
BAL OUT OPTION
BAL
+
BAL
+
R POST
TO MONITOR
(R CCT ONLY)
L
R
MONO
LEV
-
R
AUX1
GRP
OUT
AUX AUX
GROUP1
2 = +
+4dBu
AUX2
OUT
GRP
AUX AUX
GROUP2
2 = +
+4dBu
BAL
+
STEREO
RETURN
L/MONO
R
AUX3
AUX5
GRP
GRP
AUX
GROUP3
LEFT
REV
3-4
AUX6
GRP GRP
AUX
RIGHT
REV
5-6
L-R
REV
1-2
AUX4
GROUP4
M OUT
MONITOR METERS
REPLAY TO L-R
2-TRK RETURN
L
R
L-R/2TRK
+
+
PFL/AFL
MONITOR
PHONES LEV
HEADPHONES
+
L
R
+
28
L
4
T
T
6
-
-
F
F
H
1
A
1
E
/
IG
L
P
X
P
R
R
U
G
A
GL2200 USER GUIDE
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