Allen&Heath GS1 USER GUIDE

The GS1 is the only true 8 buss recording console at this price level. It is sonically transparent and specifically designed for digital multitracking.

You will find this ultra compact console is outstanding as a professional tool, designed and built on a well proven operating format using well proven technology.

We have incorporated the latest in Mic pre-amp developments. We out perform conventional designs and we have given the GS1 127dB EIN, a flat transparent frequency response of 10Hz to 30kHz (+0/-1dB). The Mic Input to Insert send (Direct out) is rated better than 300kHz (-1dB).

We hope you will enjoy using the GS1. Welcome to Allen & Heath.

Welcome to the GS1

i

3/5

0

10

to Aux 2 & 3

to Aux 4 & 5

Level

0

10

Level

0

10

Level

0

10

L

TAPE RTN

TA

R

PAN

L

R

PAN

L

R

PAN

L

R

PAN

L

R

PAN

L

R

PFL

PAN

L

R

PFL

PAN

L

R

PFL

PAN

L

R

PFL

PAN

L

R

PFL

PAN

L

R

A

34567

Channel

On

8

Channel

On

9/10

Channel

On

11/12

+10

+5

+10

0

+5

+10

0

+5

+10

-5

0

+5

+10

-5

0

+5

+10

-10

-5

0

+5

+10

Channel

On

L-R L-R

GS1

USER

GUIDE

GS1

USER

GUIDE

Section 1 G

ETTINGSTARTED

Block Diagram Connections

Section 2 S

IGNALPATHS

Mono Input and Stereo Input Paths EQ Aux Monitor and Stereo Returns PFL, Pan, Channel On and Routing Meters and the Master Section

Section 3 U

SINGMUTEAUTOMATION

Mute Patches Connections Uses for Automation

Section 4 MIDI A

PPLICATIONS

MIDI Transport Control (MMC) MIDI Commands

Section 5 G

ETTING THE BEST FROM THE

GS1 Level Matching Earthing Grouping and Patchbays

Section 6 S

PECIFICATIONS ANDOPTIONS

GS1 and Expander Meterbridge and PSU

Connector Diagrams - Jacks, Phono’s & XLR’s

MIDI Implementation Audio Specifications

CONTENTS

GS1

iii

PAGE PAGE

1 3

5 7

9 11 13 15

17 19 21

23 25

27 29 32

33 34 35 37 38

This product has been manufactured in the UK by Allen & Heath Ltd and is warranted from defects in materials or workmanship for a period of one year from the date of purchase by the original owner.

To ensure the high level of performance and reliability for which this equipment has been designed and manufactured, please read this User Guide before use.

In the event of 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:

1 2

3 4

5

The equipment has been installed and operated in accordance with this User Guide.

The equipment has not been subject to misuse either intended or accidental, neglect, or alteration other than described in this User Guide or the Service Manual, or approved by ALLEN &HEATH.

Any necessary adjustment, alteration, or repair has been made by ALLEN &HEATH or its authorised agent.

The defective unit is to be returned, carriage prepaid, to ALLEN & HEATH or its authorised agent and proof of purchase made available on request.

Units to be returned should be packed to avoid transit damage and be accompanied by the Power Supply Unit.

These terms of warranty apply to UK sales. In other territories the terms may vary according to legal requirements.

Publication AP2061 Issue 2 Information in this manual is subject to change without notice and

does not represent a commitment on the part of the vendor. Allen & Heath Limited shall not be liable for any loss or damage whatsoever arising from the use of information or error contained in this manual.

No part of this manual may be reproduced in any form without prior permission from Allen & Heath Limited.

Allen & Heath Limited Kernick Industrial Estate, Penryn, Cornwall, England TR10 9LU. Tel : (44) 01326 372 070. Fax : (44) 01326 377 097

CONDITIONS OF WARRANTYLIMITED ONE YEAR WARRANTY

ii

MICROPHONE

PHANTOM POWER

MIC/LINE XLR

2= +

LINE IN

LINE/XL

MI

H

M

L

3 BAND EQUALISER

INSERT TIP -

RING -

MIXDOWN

TAPE RTN IN

GAIN

LEVEL

2/4

3/5

1

PF

FADER

CHANNEL

ON

MUTE

PROCESSOR

1-2 3-4 5-6 7-8

L-R

AUX 1-

GRP 1-

LEF

RIGHT

PF

AUX 1 PRE AUX 1 POST

AUX 2 AUX 4

AUX 5

AUX 3

MONO INPUT 1 OF 8

PAN

1-2 3-4 5-6 7-8

L-R

PAN

CHANNEL

ON

MUTE

PROCESSOR

2/4

3/5

1

AUX 1 PRE AUX 1 POST

AUX 2 AUX 4

AUX 5

AUX 3

HF

2 BAND EQUALISER

LF

FADER

L HI

GAIN

L/MONO

R

STEREO INPUTS

PAN

LEVEL

L/MONO

R

STEREO

RETURNS

EXPANDER

STEREO INPUT 1 OF 4

PF

AUX 1-

GRP 1-

LEF

RIGHT

PF

1

SECTION 1B BLOCK DIAGRAM - OUTPUTS AND MIDI

2

GS1

1

SECTION 1A BLOCK DIAGRAM - INPUTS

AUX 1-5

GRP 1-8

LEFT

RIGHT

PFL

GROUP (1-8) MIX

AUX (2-5) MIX

AUX 1 PRE MIX

AUX 1 POST MIX

LEFT MIX

RIGHT MIX

PFL MIX

CUE (PRE)

AUX (POST)

2 TRACK IN

EXPANDER METERBRIDGE

LEVEL

L INSERT

R INSERT

FADER

MIDI

GROUP (1-8) OUT

AUX (2-5) OUT

AUX 1 OUT

2 TRACK OUT

(MAIN OUT)

MONITOR

L-R

AUX1

2TRK

PFL DC

GROUP

1 OF 8

AUX 2-5

TIP = +

1 OF 4

AUX 1

TIP = +

MONITOR METER

L

R

L

LEVEL

LO HI

CUE TO

HEADPHONES

MONITOR

OUTPUT

MUTE

HEADPHONES

L R

MONITOR AMP

& SPEAKERS

L R

LEVEL

R

PFL

ACTIVE

MATCH

MONITOR

MASTER

IN

MMC FUNCTION KEYS

DPTO-ISOLATOR

MODE LEARN SET LOC

F6

>>

FF

F5

<<

REW

F4

>

PLAY

F3

STOP

F2

LOCATE

F1

CHANNEL ON

SWITCHES

MUTE

PROCESSOR

EXPANDER

MUTE PROCESSOR

MIDI

THRU

MIDI OUT

MMC PATCH MIDI LEARN

CHANNEL ON

MUTES AND LEDS

ONLY USE ADAPTOR PROVIDED

AC 36V

POWER INPUT

PSU

POWER

1

1 2 3 4 5 6 7 8

9 10 11 12 13

NOTES

Group outputs to Recorder. Tape returns from Recorder. Microphone inputs. Line inputs from line devices. Input stage inserts for gates, compressors and expanders etc. Stereo line inputs from line devices. Stereo Returns for FX devices. Aux sends 2 to 5 to FX devices. Aux 1 to cue amp and headphone mix. L R inserts for compressors or EQ etc. Engineer’s headphone monitor. L R monitor O/P to monitor speaker amp and speakers. L R mix to and from 2 track master recorder.

CONNECTIONS

4

GS1

3

SECTION 1 GETTING STARTED

'MIXdown'

Line Insert

1

Mic

Microphone

XLR / Line

1

GROUP

out

TAPE RTN

in

1

GROUP

out

Line Insert

2

Mic

Microphone

2

GROUP

out

TAPE RTNinGROUP

out

Microphone

3

GROUP

out

TAPE RTNinGROUP

out

Line Insert

3

Mic

Microphone

4

GROUP

out

TAPE RTNinGROUP

out

Line Insert

4

Mic

Microphone

5

GROUP

out

TAPE RTNinGROUP

out

Line Insert

5

Mic

Microphone

6

GROUP

out

TAPE RTNinGROUP

out

Line Insert

6

Mic

Microphone

7

GROUP

out

TAPE RTNinGROUP

out

Line Insert

7

Mic

Line Insert

8

Mic

Microphone

8

GROUP

out

TAPE RTNinGROUP

out

Microphone

Phantom Power

1

9/10

L/Mono R

Stereo Inputs

11/12

L/Mono R

Stereo Inputs

13/14

L/Mono R

Stereo Inputs

15/16

L/Mono R

Stereo Inputs

L/Mono R

Stereo Returns

L/Mono R

Stereo Returns

L/Mono R

Stereo Returns

2

AUXILIARY

out

27/28 29/30 31/3225/26

53 Headphones

4

L/Mono R

Stereo Returns

L

INSERT

R

SEND (tip)

RETURN (ring)

+6+6

MIDI out

MIDI thru'

MIDI

in

AC 36V

Power Input

Only use adaptor provided

Serial No.

Made in England by Allen & Heath Ltd

2 TRACKinL R 2 TRACK

out

(Main out)

L R Mon. Amp

& Speakers

LR

Mic - XLR XLR pad or

XLR / Line

XLR / LineXLR / Line

3123

12312312312312312

3

12

CUE AMP

R

COMPRESSOR, GRAPHICS ETC.

L

SAMPLER

KEYBOARD

8 TRACK RECORDER

8 8

DAT

2 2

8

VOICE

GATES, COMPRESSORS, EXPANDERS

DRUM MACHINE

7

3

2

1

STUDIO FX2

STUDIO FX1

STUDIO DELAY

8

6

12

9

STUDIO AMP

10

11

5

4

13

1

2

3

4

M

ONO INPUT

Main input gain control allows optimum settings of input signal. Set this level using PFL and the Master Meters.

Use the Mic line switch to select the input source. When no input is connected to the line socket this switch acts as a 30dB pad on the Mic input.

(See section 5)

The insert socket sends the input signal to an external device. This may be a gate, compressor or de-esser. The signal returns to the same point in the channel path. See the diagram in the connector section for correct wiring.

S

TEREO INPUT

If only the left input is used the signal appears on both left and right paths, effectively mono.

MONO INPUT AND STEREO INPUT PATHS

6

2

GS1

NOTES

STEREO INPUT

L

R

MONO INPUT - MIC AND LINE CONNECTED

4

GAIN

1

MIC/LINE XLR

2

3

12

GAIN

LINE

INSERT

3

LO

HI

0

10

5

SECTION 2 SIGNAL PATHS

1

2

C

HANNEL EQ

Each mono channel strip has a three band EQ. The mid sweep ranges from 300Hz to 12KHz.

S

TEREO INPUT EQ

Each stereo input channel has a two band shelving EQ.

On each EQ the HF shelf starts at 12KHz. The LF shelf starts at 80Hz. Each level control gives 14dB of cut and boost. A centre detent position makes it easy to find the ‘off’ position.

EQ

8

2

GS1

NOTES

2

1

Equaliser

M Xdow

LF

-14 14

MF

sweep

300 HZ

12

kHz

MF

Gain

HF

-14 14

0

10

Gain

0

10

LF

-14 14

MF

sweep

300 HZ

12

kHz

MF

-14 14

Equaliser

M Xdow

HF

-14 14

CHANNEL EQ STEREO INPUT EQ

7

SECTION 2 SIGNAL PATHS

-14

Equaliser

-14

14

HF

14

LF

-14

Equaliser

-14

14

HF

14

LF

-14

Equaliser

-14

14

HF

14

LF

1

2

C

HANNEL AUX SENDS

There are five Aux busses on the GS1. These are typically used for sending channel signals to common FX such as reverbs and delays. Auxs 2-5 are always post fade. Aux sends 4 & 5 are accessed by pressing the Channel Aux send select switch.

M

ASTER AUX SENDS

Aux 1 can be switched at the master section to be pre fade. A pre fade Aux is commonly used for foldback or cue for a musicians headphone mix where the monitor signal is not affected by channel fader. In most cases foldback will be required from the tape returns, When Aux 1 is switched to pre, it selects the TAPE RTN signal path from the mono channel strips.

AUX

10

2

GS1

NOTES

CHANNEL SENDS MASTER AUX SENDS

0

1

LF

-14 14

0

10

-14

Auxiliary Sends

0

10

0

3/5

0

10

to Aux 2 & 3 to Aux 4 & 5

2/4

1

2

9

SECTION 2 SIGNAL PATHS

Auxiliaries

AUX (post)

CUE (pre)

0

10

2

0

10

4

0

10

1

0

10

3

0

10

5

2

1

2

NOTES

The Tape Return and Stereo Return inputs are provided to monitor the signals coming back from a multitrack recorder and stereo effects devices.

MONITOR

The MIXDOWN switch flips the input signals to the alternate paths when mixing. In this case the Mic/line input is available on the Tape Return path and the tape return signal is available on the Channel path.

S

TEREO

If the left input is used on its own the signal is sent equally to both left and right paths.

MONITOR AND STEREO RETURNS

12

GS1

STEREO RTN

L

R

LEVEL PAN

MIXDOWN

L

R

PAN

L

R

2

FROM

XLR/LINE

TO CHANNEL

PATH

0

10

0

10

LEVEL

0

10

0

10

L - OUT R - OUT

1

MIC/LINE TO FADER TAPE TO TAPE RTN.

TAPE TO FADER MIC/LINE TO TAPE RTN.

1

1 OF 8

TAPE RTN

OUT

11

SECTION 2 SIGNAL PATHS

1

2

3

4

5

6

PFL

The PFL switch is used for monitoring individual channel signals. Use PFL to set the optimum channel level from the Mic/Line gain control or Hi/Lo switch. The PFL active LED on the master section indicates when any PFL switch is active.

The level to the LR buss or groups (routing) is set using the main 100mm channel fader. There is no need for group master levels as all routed channels can easily be set for the optimum tape level.

The ‘Channel On’ switch mutes or unmutes the signal to the LR buss and groups. This is a momentary switch and is controlled by the internal micro-processor and via MIDI.

P

AN

Pan will route the signal proportionately to Left/(Odd) Right/(Even) group numbers.

R

OUTING

The routing matrix directs the channel signal to either the LR buss (through the LR master fader to the 2 track out), or direct to the individual group output sockets.

The LR fader trims the overall mix level to the 2 track master outputs.

PFL, PAN, MUTE AND ROUTING

14

2

GS1

NOTES

PAN

CHANNEL

ON

PFL

CHANNEL PATH

STEREO INPUT

(2 TRACK OUT)

MAIN OUT

GROUP OUT

LR FADER

PFL

ACTIVE

8

FADER

1-2

3-4

5-6

7-8

1

2

3

PFL, PAN, CHANNEL ON (MUTE) & ROUTING

0

10

¥

-30

-20

-15

-10

-5

0

+5

+10

-5

0

+5

+10

4

L-R

5

6

PHONO

L IN R IN

1 of 8

L

R

IN

13

SECTION 2 SIGNAL PATHS

1

2

3

4

M

ETERS

The main output fader sets the level to the master 2 track recorder. The Hi/Lo switch alters the meter sensitivity to enable correct level setting. The Hi setting is for interfacing with professional equipment operating at +4dBu. Lo is for -10dBu level operation.

M

ASTER SECTION

The Monitor Select switches allow the LR mix (Default), the 2 track return, or the Aux 1 cue mix to be monitored through the speakers.

The speaker mute switch cuts the signal to the studio speakers. This enables the musician/engineer to perform and to engineer in the same room using Headphones.

Cue to headphones allows the LR mix to be monitored through the speakers, and the Aux Cue buss through the headphones. This can be used as a monitor output for the musician.

METERS AND MASTER SECTION

16

2

GS1

NOTES

LR FADER

MONITOR

LEVEL

MONITOR

OUTPUT

MUTU

CUE TO

HEADPHONES

L R

MIX

BUSS

L

R

MONITOR AMP &

SPEAKERS

3

4

-5

0

+5

+10

MASTER SECTION

2 TRACK OUT

(MAIN OUT)

MONITOR SELECT

AUX 1

(CUE)

2 TRACK

LEVEL

MASTER

AUX 1 BUSS

2 TRACK

IN

= LR = 2 TRACK = AUX 1 (CUE)

2

HI/LO

1

METERS

15

SECTION 2 SIGNAL PATHS

1

2

3

4

5

Patches are snap shots of mute settings.There are 6 available memories. To set a mute patch do the following.

Using the Mode key, select the Patch LED. Press the Learn key, the Learn LED will flash. Set all ‘Channel On’ switches to the required settings. Press the desired Function key to save the Patch. Press the Learn key to exit back

to Patch mode. Whenever the Mode LED indicates Patch, each Function Key press will recall the

stored settings.

Note that Patches can be recalled using MIDI commands. Recalling a Patch will also transmit a MIDI Program Change message. Refer to section 6 for the MIDI implimentation.

MUTE PATCHES

18

3

GS1

NOTES

n

3

MODE KEY

c

5

LEARN KEY CHANNEL ON SAVE RECALL

c

1

c

2

4

17

SECTION 3 MUTE AUTOMATION

MMC

Patch

MIDI

Learn

Mode

Learn

Set Lo

F6

MMC

Patch

MIDI

Learn

Mode

Channel

On

Learn

Set Lo

F6

+5

0

nnel

Cha

n

O

-5

+5

0

Channel

On

-5

MMC

Patch

MIDI

Learn

MMC

Mode

Learn

Set Lo

F6

Patch

MIDI

Learn

Mode

Learn

Set Lo

F6

1

2

3

1

2

3

AUTOMATION

The GS1 requires automation control from an external sequencer. A MIDI Master keyboard and the GS1 will both require input to the sequencer. A

MIDI merge unit or a dedicated A/B switcher will be needed. Just like a keyboard. The GS1 will transmit a MIDI message whenever a Channel

On switch is pressed. The GS1 will respond automatically when it receives this message back from the sequencer.

N.B.

The Function Key mode does not affect the MIDI mute automation. MIDI specifications are detailed at the end of this manual. Some sequencers don’t ‘chase’ MIDI notes properly when starting from the

middle of a song. If this occurs, try recording Channel On patches at key points in the song, such as choruses or verses.

CONNECTIONS

20

3

GS1

NOTES

THRU

OUT

MASTER KEYBOARD

3123123123123123123

12

3 12

GS1

3123123123123123123

12

3

12

GS1

Compact Studio Console meterbridge

VOICES

THRU

IN

THRU

IN

OTHER MIDI VOICES

& DEVICES

3

AUTOMATION CONNECTIONS

MIDI

THRU

MIDI

IN

MIDI OUT

IN

THRU

1

2

OUT

MIDI

IN

MERGE

19

SECTION 3 MUTE AUTOMATION

1

2

3

P

ARALLEL CHANNELS

Use parallel channel connections to maximise tape usage. Each different sound on the track can be mixed down several channels. Mute automation allows each input to be processed separately. This avoids confusion in musicians headphones and will result in better musical performances.

A

UTOMATED FX SENDS

Try out effects without having to commit to tape by using a paralell channel not routed to the L R mix. The Aux send can then be automated using the Channel On switch.

M

IXING

Clean up analogue tracks and stop noise from effects devices.

Automation allows hands free operation for other creative tasks such as performance and mix balance.

USES FOR AUTOMATION

22

3

GS1

NOTES

CHAN 1 CHAN 2 CHAN 3

1

2

ECHO

AUX 2

TRACK

OPEN

CLOSED

3

0

10

PARALLEL CHANNELS AUTOMATED FX SENDS MIXING

CHANNEL

ON

MUTE

TRK 4

21

SECTION 3 MUTE AUTOMATION

1

2

3

4

5

T

APE MACHINES

Using the in built MIDI Machine Control the GS1 will directly control all MMC compliant tape recorders.

Ensure MMC is selected using the Mode key. The Function keys are labelled accordingly.

MIDI S

EQUENCERS

The GS1 can control the transport of many sequencers using it’s default MIDI settings, see page 37.

A MIDI merge box is sometimes required for a complete MIDI set-up, see page 20.

Ensure ‘MIDI’ is selected by using the Mode key.

TRANSPORT CONTROL (MMC)

24

4

GS1

NOTES

c

2

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

IN

3123123123123123123

12

3

12

GS1

3123123123123123123

12

3

12

GS1

Compact Studio Console meterbridge

1

MIDI OUT

3123123123123123123

12

3

12

GS1

3123123123123123123

12

3

12

GS1

Compact Studio Console meterbridge

3

4

TAPE MACHINE MODE SELECT SEQUENCER MODE SELECT

IN

MIDI

OUT

MIDI

c

5

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

THRU

MIDI

23

SECTION 4 MIDI APPLICATIONS

Mode

Learn

Set Lo

F6

FF

Mode

Learn

Set Lo

F6

FF

1

2

3

4

5

6

Learn MIDI commands in order to control external devices.

Select ‘MIDI’ using the Mode key, press the Learn key. The Learn LED will flash. Press any Function Key to select which key should be used to store the MIDI command.

Key Press

Transmit a MIDI message to the GS1 from a keyboard or any other device. This message will be associated with a Function Key ‘press’.

Press the Function Key again.

Key Release

Transmit a second MIDI message for the Function key ‘release’. After this the selected Function Key will transmit both ‘press’ and ‘release’

messages. Press Learn Key to exit Learn Mode.

Note the GS1 must be in MIDI mode.

MIDI COMMANDS

26

4

GS1

NOTES

OUT IN

3123123123123123123

12

3

12

GS1

3123123123123123123

12

3

12

GS1

Compact Studio Console meterbridge

2

OUT IN

3123123123123123123

12

3

12

GS1

3123123123123123123

12

3

12

GS1

Compact Studio Console

meterbridge

4

MODE SELECT MIDI MESSAGE (PRESS) LEARN MIDI MESSAGE (RELEASE) RECALL

c

51

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

2

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

Mode

Learn

MMC

Set Loc

FF

F6

F5

Patch

MIDI

Learn

25

SECTION 4 MIDI APPLICATIONS

Mode

Learn

Set Lo

F6

FF

1

2

3

4

5

6

7

Matching the input level to the GS1 will result in the best audio performance.

If no Input is connected to the line socket then the Mic/line switch acts as a 30dB pad on the Mic input.

To optimise the signal quality ensure the input level is as close to the console meters’ ‘O’ operating level as possible.

The GS1 headroom. The GS1 signal to noise ratio. Use PFL to measure level on the master LR meters. Aim for a 0dB to +3dB meter reading on average. Check the multitrack recorder and the master 2 track recorder for specified

operating levels. Select either Hi (+4dBu ) or Lo (-10dBV) using the Hi/Lo switch under the main LR meters.

LEVEL MATCHING

28

5

GS1

NOTES

3

GAIN

LINE/XLR

MIC

5

PFL

1

PAD

0

10

+6+6

+3+3

00

-3-3

-6-6

-10-10

-15-15

-20-20

LR

Hi

Lo

PFL

ACTIVE

LEVEL

MAX HEADROOM

NOISE FLOOR

6

4

2

CONSOLE 'O' OPERATING LEVEL

7

27

SECTION 5 GETTING THE BEST FROM THE GS1

3123123123123123123

12

3

12

GS1

3123123123123123123

12

3

12

GS1

Compact Studio Console meterbridge

STAR

POINT

EARTH

29

SECTION 5 GETTING THE BEST FROM THE GS1

1

2

For operator safety all equipment should be referenced to a good mains earth. Multiple earth paths cause earth loops resulting in audible hum.

If earth loops cause problems disconnect the signal cable shields at

destination

end. Mic cable shields should remain connected at both ends. Ensure all equipment goes directly to the common earth star point.

Note: Some audio equipment comes with an earth lift to disconnect audio earth (OV) from chassis earth. Refer to the User Manuals for that equipment. This is often used in rack mount devices.

WARNING: Never remove earth connections without checking for continuity to ground.

EARTHING

30

5

GS1

NOTES

7-8 7-8 7-8 7-8

PAN

GROUP

OUT

ODD EVEN

1

2

GROUPING

34567

GROUP OUTPUTS (OUT OF GS1)

TAPE INPUTS (TAPE MACHINE INPUTS)

TAPE OUTPUTS (TAPE MACHINE OUTPUTS)

TAPE RETURNS (INPUTS TO GS1)

CHANNELS

PATCH BAY

}

NORMALED

PAN

1

2

3

G

ROUPING

Using groups allow different signals to be mixed independently down to one or two tracks. For one track grouping turn the Pan either hard left (0dd) or hard right (Even).

Routing switches assign the mix output to the selected multitrack inputs, either 1-8 on the GS1 or 9-16 on the expander.

P

ATCHBAYS

Patchbays allow total flexibility. The GS1 has been designed to remove much of the need for a patchbay. However it may still be convenient to be able to patch around external equipment to the GS1.

Note that all insert points should be normalised on a patchbay otherwise the channel signal will be cut.

Choose a normalled patchbay for convenience: A normalled patchbay links all relevant inputs and outputs so many patch leads are not required.

GROUPING AND PATCHBAYS

32

5

GS1

NOTES

31

SECTION 5 GETTING THE BEST FROM THE GS1

3123123123123123123

12

3

12

GS1

3123123123123123123

12

3

12

OPTIONAL

EXPANDER

W H D WEIGHT

315mm 59mm 496mm 5kg/11lb

GS1

W H D WEIGHT

520mm 59mm 496mm

7.5kg/16.5lb

D

W

D

H

GS1

34

6

33

SECTION 6 SPECIFICATIONS AND OPTIONS

OPTIONAL

METERBRIDGE

W

500mm

H

D

Compact Studio Console

GS1

meterbridge

W

H

D WEIGHT

175mm 22mm

1.5kg/3.3lb

D

PSU

W

108mm

H

60mm

D

77mm

WEIGHT

1kg/2.2lb

W

MONO JACK

GRAPHIC

UNBALANCED JACK

TIP RING SLEEVE

INSERT JACK

SLEEVE RING

TIP

TIP RING SLEEVE

DIRECT OUT

FROM INSERT

SLEEVE TIP

LINK RING TO GND

1/4" JACKS RCA PHONO

SIGNAL GND

BALANCED JACK

SEND LINK TO TIP GND

SHIELD

SIGNAL

GND

-

GND

SLEEVE

RING

TIP

+

GND

+

RING

: : :

SEND RETURN GND

: : :

GS1

36

6

35

SECTION 6 SPECIFICATIONS AND OPTIONS CONNECTOR DIAGRAMS

UNBALANCED

(SWITCH OFF PHANTOM POWER)

MALE PLUG WIRING VIEW

2

3

1

BALANCED

PIN 2 = +PHASE PIN 3 = - PHASE PIN 1 = OV

2

3

1

LINK PIN 3 TO PIN 1

3-PIN XLR PLUGS

1

3

2

GS1 MIC INPUT

IN

THRU OUT

MIDI

GS1 SOCKETS

1

3

2

FROM SOURCE

POWER INPUT SOCKET

18V AC18V AC

CENTRE TAP

GS1

AUDIO SPECIFICATIONS

38

6

37

SECTION 6 SPECIFICATIONS AND OPTIONS MIDI IMPLEMENTATIONS

G#

A0

A#0

B0 C1

C#1

D1

D#1

E1 F1

F#1

G1

CH

1 2 3 4 5 6 7 8

9 10 11 12

DEC

32 33 34 35 36 37 38 39 40 41 42 43

HEX

20 21 22 23 24 25 26 27 28 29 2A 2B

BASIC GS1

HEX DEC CH

2C 44 13 G#1 2D 45 14 A1 2E 46 15 A#1 2F 47 16 B1 30 48 17 C2 30 49 18 C#2 32 50 19 D2 33 51 20 D#2

G#1

A1

A#1

B1 C2

C#2

D2

D#2

CH 13 14 15 16 17 18 19 20

DEC

44 45 46 47 48 49 50 51

HEX

2C 2D 2E 2F 30 30 32 33

TRANSMITTED NOTE

9n kk v1 kk v2

n - MIDI Channel (must be console’s channel) kk - Note number (see table 1 & 2) v1 => 40H Mute ON

<= 3FH Mute OFF

v2 = 0

RECEIVED NOTE

9n kk vv

n - MIDI channel = 16 kk - Note number (see table 1 & 2) vv => 40H Mute ON

<= 3FH Mute OFF = 0 IGNORED

PATCH RECALL

Cn p where

n - MIDI channel = 16 p - Program Change Number

GS1 EXPANDER

F0, 7F, 7F, 06, 44, 02, 00, 08, F7

F0, 7F, 7F, 06, 01, F7 F0, 7F, 7F, 06, 02, F7 F0, 7F, 7F, 06, 05, F7

F0, 7F, 06, 04, F7

F0, 7F, 7F, 06, 4C, 02, 08, 01, F7

LOCATE

STOP PLAY

REW FWD

SET LOCATE

1 2 3 4 5 6

MMC MESSAGENAMEFKEY

CF 00 CF 01 CF 02 CF 03 CF 04 CF 05

1 2 3 4 5 6

PROG CHNG

MESSAGE

FKEY

NOTES

OUTPUTS

2 Track out Unbal. RCAPhono 50ohms Group out Unbal. RCA Phono 50ohms Aux. out Unbal. 1/4” Jack 50ohms Inserts sends Unbal. 1/4” Jack - tip sends 50ohms Monitor out Unbal. RCA Phono 50ohms Phones out Unbal. tip left, ring right for 8-400ohms Headphones

PARAMETER

Max O/p Level +21dBu into 2k ohms Meters Peak responding, 0VU=+4dBu or -10dBV as selected Frequency Response 10Hz to 30kHz +0/ -1dB Distortion - THD (Line to Mix out @ 1kHz) 0.006% Crosstalk >75dB @ 1kHz Noise - 22Hz to 22kHz MIC EIN -127dB into 150ohms Noise - Pre-amp @ 0dB -88dBu Noise - Mix -82dBu

INPUTS

Mic In Bal. pin 2 hot, 3 cold >2kohms var -60 to -20dBu Line In Bal. pin 2 hot, 3 cold >25kohms var -30 to +10dBu Line In Unbal. tip hot, ring gnd >25kohms var -30 to +10dBu Stereo In Unbal. tip hot, ring gnd >10kohms +4dBu or -10dBV Sereo Rtn Unbal. tip hot, ring gnd >5kohms +4dBu or -10dBV 2 Track Rtn Unbal. >10kohms +4dBu or -10dBV Tape Return Unbal. >5kohms +4dBu or -10dBV Insert Return Unbal. ring return >5kohms +4dBu or -10dBV

+4dBu, or -10dBV Depending upon operating level set +21dBu max.

Patch Mode

MMC Mode

9F 5D 20

9F 5F 20 9F 5E 20 9F 5B 20 9F 5C 20 9F 58 20

RECORD

STOP

PLAY REW FWD

CYCLE

1 2 3 4 5 6

MIDI MESS.

(PRESS)

NAMEFKEY

9F 5D 00 9F 5F 00 9F 5E 00 9F 5B 00 9F 5C 00 9F 58 00

A5 B5

A#5

G5

G#5

E5

MIDI MESS.

(RELEASE)

NOTE

MIDI Mode

Allen & Heath, Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, England. Telephone : (44) 01326 372 070 Facsimile : (44) 01326 377 097

PUBLICATION AP2061 ISSUE 2

PRINTED IN ENGLAND ON PAPER FROM A SUBSTAINABLE WOODSTOCK. DESIGN BY INVOGRAPHIS