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ALLEN&HEATH
USER GUIDE
Publication AP5597
GL2400
1

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  • Page 1

    ALLEN&HEATH

    GL2400
    USER GUIDE
    Publication AP5597



  • Page 2

    Limited One Year Warranty
    This product is warranted to be free from defects in materials or workmanship for
    a period of one year from the date of purchase by the original owner.
    To ensure a high level of performance and reliability for which this equipment has
    been designed and manufactured, read this User Guide before operating. In the
    event of a failure, notify and return the defective unit to Allen & Heath Limited or
    its authorised agent as soon as possible for repair under warranty subject to the
    following conditions

    Conditions Of Warranty
    1. The equipment has been installed and operated in accordance with the
    instructions in this User Guide
    2. The equipment has not been subject to misuse either intended or accidental,
    neglect, or alteration other than as described in the User Guide or Service
    Manual, or approved by Allen & Heath.
    3. Any necessary adjustment, alteration or repair has been carried out by Allen
    & Heath or its authorised agent.
    4. This warranty does not cover fader wear and tear.
    5. The defective unit is to be returned carriage prepaid to Allen & Heath or its
    authorised agent with proof of purchase.
    6. Units returned should be packed to avoid transit damage.
    In certain territories the terms may vary. Check with your Allen & Heath agent for
    any additional warranty which may apply.

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

    This product has been tested to EN55103 Parts 1 & 2 1996 for use in
    Environments E1, E2, E3, and E4 to demonstrate compliance with the
    protection requirements in the European EMC directive 89/336/EEC.
    During some tests the specified performance figures of the product
    were affected. This is considered permissible and the product has
    been passed as acceptable for its intended use. Allen & Heath has a
    strict policy of ensuring all products are tested to the latest safety and
    EMC standards. Customers requiring more information about EMC
    and safety issues can contact Allen & Heath.
    NOTE: Any changes or modifications to the console not approved by
    Allen & Heath could void the compliance of the console and therefore
    the user’s authority to operate it.

    GL2400 User Guide AP5597 Issue 2
    Copyright © 2005 Allen & Heath Limited. All rights reserved

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

    2

    GL2400 User Guide



  • Page 3

    Important Safety Instructions
    WARNINGS -

    Read the following before proceeding :

    CAUTION

    ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR
    Read instructions:
    Read and retain these safety and operating
    instructions for future reference. Adhere to all warnings printed here and
    on the console. Follow the operating instructions printed in this User
    Guide.
    Do not remove cover: Operate the console with its underside
    cover correctly fitted. Disconnect mains power by unplugging the power
    cord if the cover needs to be removed for setting internal options. Refer
    this work to competent technical personnel only.
    Power sources: Connect the console to a mains power outlet only
    of the type described in this User Guide and marked on the rear panel.
    Use the power cord with sealed mains plug appropriate for your local
    mains supply as provided with the console. If the provided plug does not
    fit into your outlet consult your service agent for assistance.

    Power cord routing:

    Route the power cord so that it is not likely
    to be walked on, stretched or pinched by items placed upon or against it.

    Grounding:

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

    WARNING: This equipment must be earthed.
    Water and moisture:

    To reduce the risk of fire or electric shock
    do not expose the console to rain or moisture or use it in damp or wet
    conditions. Do not place containers of liquids on it which might spill into
    any openings.

    Ventilation:

    Do not obstruct the rear and top ventilation slots or
    position the console where the air flow required for ventilation is impeded.
    If the console is to be operated in a flight case, plinth or other furniture
    ensure that it is constructed to allow adequate ventilation.

    Heat and vibration:

    Do not locate the console in a place
    subject to excessive heat or direct sunlight as this could be a fire hazard.
    Locate the console away from any equipment which produces heat or
    causes excessive vibration.

    Servicing:

    Switch off the equipment and unplug the power
    cord immediately if it is exposed to moisture, spilled liquid, objects fallen
    into the openings, the power cord or plug become damaged, during
    lightning storms, or if smoke, odour or noise is noticed. Refer servicing to
    qualified technical personnel only.

    Installation:
    Install the console in accordance with the
    instructions printed in this User Guide. Do not connect the output of
    power amplifiers directly to the console. Use audio connectors and plugs
    only for their intended purpose.

    GL2400 User Guide

    3



  • Page 4

    General Precautions
    Damage

    To prevent damage to the controls and cosmetics avoid
    placing heavy objects on the control surface, scratching the surface with
    sharp objects, or rough handling and vibration.

    Environment Protect from excessive dirt, dust, heat and vibration
    when operating and storing. Avoid tobacco ash, smoke, drinks spillage,
    and exposure to rain and moisture. If the console becomes wet, switch
    off and remove mains power immediately. Allow to dry out thoroughly
    before using again.
    Cleaning

    Avoid the use of chemicals, abrasives or solvents. The
    control panel is best cleaned with a soft brush and dry lint-free cloth. The
    faders, switches and potentiometers are lubricated for life. The use of
    electrical lubricants on these parts is not recommended. The fader and
    potentiometer knobs may be removed for cleaning with a warm soapy
    solution. Rinse and allow to dry fully before refitting them.

    Lifting To avoid injury to yourself or damage to the equipment take
    care when lifting, moving or carrying the console.
    Transporting

    The console may be transported as a free-standing
    unit or mounted in a purpose built flight case. We recommend that the
    console is surrounded by shock absorbent foam to protect it from
    damage during transit. Always use adequate packing if you need to ship
    the unit. Protect the controls to avoid damage when moving the console.

    Hearing To avoid damage to your hearing do not operate any sound
    system at excessively high volume. This also applies to any close-to-ear
    monitoring such as headphones and IEM transducers. Continued
    exposure to high volume sound can cause frequency selective or wide
    range hearing loss.

    Important Mains plug wiring instructions.
    The console is supplied with a moulded mains plug fitted to the AC
    mains power lead. Follow the instructions below if the mains plug has
    to be replaced. The wires in the mains lead are coloured in
    accordance with the following code:
    TERMINAL

    WIRE COLOUR
    European

    USA/Canada

    L

    LIVE

    BROWN

    BLACK

    N

    NEUTRAL

    BLUE

    WHITE

    E

    EARTH GND

    GREEN & YELLOW

    GREEN

    The wire which is coloured Green and Yellow must be connected to
    the terminal in the plug which is marked with the letter E or with the
    Earth symbol. This appliance must be earthed.
    The wire which is coloured Blue must be connected to the terminal in
    the plug which is marked with the letter N.
    The wire which is coloured Brown must be connected to the terminal
    in the plug which is marked with the letter L.
    Ensure that these colour codes are followed carefully in the event of
    the plug being changed.

    4

    GL2400 User Guide



  • Page 5

    Introduction
    Welcome to the Allen & Heath GL2400, the latest generation of the popular GL series of
    dual function live sound mixing consoles. We have tried to keep this user guide brief and to
    the point. Please read it fully before starting. Included is information on installing,
    connecting and operating the console, panel drawings, system block diagram and
    technical specification. For further information on the basic principles of audio system
    engineering, please refer to one of the specialist publications and resources available from
    bookshops, audio equipment dealers and the Internet.
    Whilst we believe the information in this guide to be reliable we do not assume
    responsibility for inaccuracies. We also reserve the right to make changes in the interest of
    further product development.
    We are able to offer further product support through our world-wide network of approved
    dealers and service agents. You can also access our Web site on the Internet for
    information on our full product range, resource downloads, our company pedigree, contact
    details, assistance with your technical queries, or simply to chat about audio. To help us
    provide the most efficient service please keep a record of your console serial number, and
    date and place of purchase to be quoted in any communication regarding this product.

    http://www.allen-heath.com

    Contents
    Warranty.................................................2
    Important Safety Instructions ................3
    Gain Structure.................................................. 23
    Using the Oscillator / Noise Generator ........... 24

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

    Mixing with Faders or Gain Controls............... 24

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

    Using PFL / AFL ............................................... 25

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

    The dB.............................................................. 25
    Using Inserts .................................................... 25

    Introducing the GL2400....................8

    Polarity ............................................................. 26

    Installing the Console ..........................10

    Mixing the PA in Mono or Stereo? .................. 26
    Zero the console.............................................. 26

    Connecting Power ...............................11

    Turning the System On or Off ......................... 26

    Audio Connections ..............................13

    Sound Levels ................................................... 26
    Dual Functionality ............................................ 27
    Applications for the Matrix............................... 28
    Create IEM Mixes with Ambience ................... 29
    Using the Matrix to Create a Recording.......... 29
    Recording with the GL2400............................. 29
    Pre/Post Fade Aux Settings ............................ 29
    Aux-Fed Subs .................................................. 30

    The Console Connectors ....................14
    Mono Input Channel ............................16
    Stereo Input Channel...........................18
    Group/Aux Masters..............................19
    Aux5-6, LRM Masters...........................20

    Creating a Separate C Mix .............................. 30

    7x4 Matrix.............................................21

    Other M Output Applications........................... 30

    Monitor, Talkback and Sig Gen ..........22

    Using the Channel Direct Outputs .................. 31
    Using the Stereo Channels ............................. 31

    Applications and Operating Tips.........23

    A Note about Combining Signals ................... 31

    Specifications ......................................32
    System Block Diagram ........................34
    User Options........................................35
    Cue Sheet ............................................38

    GL2400 User Guide

    5



  • Page 6

    +48V

    +48V

    POLARITY

    POLARITY

    LINE

    20

    30

    0

    40
    50

    -14

    6

    6

    (PAD)

    GAIN

    60 40

    20

    30

    40

    50
    6

    60 40

    HPF

    100Hz

    -20
    16

    OO

    -15
    1k

    ST2 -5

    12k

    -20

    700

    HM

    -15
    1k
    6k

    500Hz

    15k

    3k +15
    4k

    700

    HM

    500Hz

    -15
    70

    180

    +15

    45

    LM

    70

    1k

    -15

    +15

    80Hz

    180

    16
    CH15

    LM

    -15

    +15

    80Hz
    -15

    +15

    -15

    HF
    12k

    AUX

    1

    +6

    AUX

    +6

    AUX

    LM

    80Hz

    80Hz

    +6

    OO

    +6

    +6

    +6

    -15

    +6

    OO

    +6

    OO

    +15

    +6

    OO

    +6

    OO

    EQ IN

    +6

    OO

    POST
    PRE
    AUX

    OO

    +6

    OO

    +6

    +6

    OO

    AUX

    OO

    +6

    OO

    +6

    OO

    6

    AUX

    OO

    R
    EVEN

    MUTE

    6

    L
    ODD

    AUX

    0

    4

    OO

    +10

    AUX

    AUX

    0

    5

    +10

    OO

    AFL

    OO

    AFL

    0

    6

    +10

    OO

    +10

    AFL

    AFL

    REV

    REV

    REV

    +6

    OO

    POST
    PRE

    POST
    PRE

    MODE

    GRP2
    TO LR

    GRP3
    TO LR

    =

    GRP4
    TO LR

    =

    LISTEN WEDGE

    =

    PAN

    M SOURCE

    PAN

    MONO (L+R)
    AUX 6
    (AUX FED SUB)

    6

    L
    ODD

    REV

    PAN

    L

    =

    MUTE

    10

    L-R
    2TRK

    +6

    OO

    +6

    OO

    R

    PK!
    +6
    0
    SIG

    L

    R

    PK!
    +6
    0
    SIG

    L

    R

    PK!
    +6
    0
    SIG

    L

    R

    PK!
    +6
    0
    SIG

    PK!
    +6
    0
    SIG

    PK!
    +6
    0
    SIG

    PK!
    +6
    0
    SIG

    =

    BAL

    R
    EVEN

    0

    AFL

    0

    3

    +10

    GRP1
    TO LR

    BAL
    MUTE

    L
    ODD

    MUTE

    FOH
    MONITOR

    AUX

    =

    PAN

    AUX

    REV

    PAN

    +6

    POST
    PRE

    =

    PAN

    POWER

    MONITOR

    AUX
    5-6

    +6

    OO

    MUTE

    AFL

    =

    5

    6

    POST
    PRE

    PFL
    AFL

    AUX
    3-4

    AFL

    0

    2

    +10

    POST
    PRE
    AUX

    OO

    +6

    OO

    +6

    OO

    MUTE

    REV

    POST
    PRE

    AUX

    6

    +6

    OO

    4

    +6

    OO

    +6

    OO

    +6

    AUX

    5

    AUX

    OO

    LEVEL

    AFL

    0

    1

    3

    AUX

    5

    +6

    OO

    +6

    OO

    MUTE

    AUX

    +6

    POST
    PRE
    AUX

    5

    +6

    AUX

    OO

    +6

    OO

    TALK

    2

    +6

    OO

    4

    OO

    L-R
    GRP
    1-4

    R

    R
    +16
    +9
    +6
    +3
    0
    -3
    -6
    -9
    -12
    -16
    -20
    -30

    AUX

    AUX

    4

    +6

    LEVEL

    AFL

    +6

    L

    SELECT

    +6

    OO

    L

    R

    LEVEL

    1

    3

    AUX

    4

    +6

    OO

    R

    2TRK
    TO LR

    4

    OO

    +10

    OO

    ON

    +6

    OO

    GRP

    L

    AFL
    AUX

    +6

    OO

    4

    OO

    MAX

    1kHz
    PINK

    3

    AUX

    OO

    +6

    OO

    MIN

    GRP

    GRP

    L

    LEVEL

    +15

    +6

    OO

    3

    4

    2TRK REPLAY

    AUX
    1-2

    +15

    EQ IN

    AUX

    3

    +6

    OO

    +6

    MAX

    +15

    -15

    LF

    +6

    OO

    MIN

    OSC/NOISE

    2

    GRP

    GRP

    OO

    +15

    LF

    2

    AUX

    3

    -15

    250Hz

    +6

    OO

    +6

    OO

    LM

    AUX

    OO

    +6

    PHONES

    GRP

    2

    3

    L

    250Hz

    -15

    OO

    +15

    2k5

    +6

    OO

    2

    OO

    -15

    GRP

    GRP

    3

    4

    +15

    1

    AUX

    2

    2k5

    AUX

    1

    OO

    +6

    OO

    GRP

    HM

    EQ IN

    +6

    1

    +6

    OO

    2

    GRP

    +15

    +6

    GRP

    2

    16
    CH16

    LR

    HF

    +15

    EQ IN
    AUX

    10
    OO

    12k

    -15

    MIC

    TALKBACK
    OO

    GRP

    1

    OO

    GRP

    5

    STEREO

    +6

    R

    LF

    +6

    GRP

    1

    OO

    -20

    LR

    -15

    EXT
    IN

    OO

    GRP

    1

    0

    -10

    HM

    1k

    +6

    OO

    GRP

    16
    CH16

    250
    400

    35Hz

    +6

    OO

    OO

    +15

    45

    400

    35Hz

    LF

    -15

    250

    10

    ST4 -5
    10

    -15

    EXT
    IN

    LR

    5

    OO

    15k

    -20
    OO

    0

    STEREO

    EXT
    IN

    5

    STEREO

    CH15

    6k

    EXT
    IN

    0

    LR

    HF

    3k +15
    4k

    60

    -10
    10

    100Hz

    40
    50

    ST3 -5

    5

    STEREO

    30

    6

    0

    -10
    12k

    +48V
    MIC 20

    GAIN

    60

    -10

    HPF
    HF

    ST1 -5

    40

    GAIN
    -14

    30

    50

    LINE

    (PAD)
    0

    +48V
    MIC 20

    GAIN

    R
    EVEN

    MUTE

    L
    ODD

    MUTE

    MUTE

    MUTE

    MUTE

    MUTE

    R
    EVEN

    MUTE

    AFL

    AFL

    AFL

    AFL

    AFL

    AFL

    AFL

    GL2400 User Guide



  • Page 7

    The Range:

    GL2400-16

    14 mono mic/line, 2 mic/dual stereo

    GL2400-24

    22 mono mic/line, 2 mic/dual stereo

    GL2400-32

    30 mono mic/line, 2 mic/dual stereo

    GL2400-40

    38 mono mic/line, 2 mic/dual stereo

    RPS11

    External power supply for the GL2400-40

    MPS12

    Backup power supply for the 16,24,32 frame sizes

    GL2400-SLV2

    Sys-Link V2 console in/out expander option kit

    MONITOR
    R
    OUT

    LAMP

    L

    MATRIX

    2TRK OUT

    R

    EXT
    IN
    4

    EXT
    IN
    3

    EXT
    IN
    2

    EXT
    IN
    1

    MTX
    4

    MTX
    3

    MTX
    2

    MTX
    1

    INSERT
    L/M R

    2TRK IN

    R

    L

    AUX
    6

    OUT

    M

    AUX 6

    OUT

    R

    INSERT
    3

    INSERT
    2

    INSERT
    1

    AUX
    5

    AUX
    4

    AUX
    3

    AUX
    2

    AUX
    1

    L

    L

    GRP 4

    GRP 3
    AUX 4

    GRP

    4

    MIC OUT
    16

    GRP 2
    AUX 3

    GRP

    3

    ST3

    ST2

    ST1

    L/M

    L/M

    L/M

    L/M

    R

    R

    R

    R

    MIC IN

    MIC IN

    16

    15

    DIRECT
    OUT
    14

    DIRECT
    OUT
    13

    DIRECT
    OUT
    12

    DIRECT
    OUT
    11

    DIRECT
    OUT
    10

    DIRECT
    OUT
    9

    DIRECT
    OUT
    8

    INSERT
    14

    INSERT
    13

    INSERT
    12

    INSERT
    11

    INSERT
    10

    INSERT
    9

    INSERT
    8

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    14

    13

    12

    11

    10

    MIC IN

    MIC IN

    MIC IN

    MIC IN

    MIC IN

    9
    MIC IN

    AUX 2

    2

    AUX 1

    GRP

    I

    RISK OF ELECTRIC SHOCK
    DO NOT OPEN

    EXT DC IN

    MAINS INPUT

    ON/OFF

    CAUTION

    1

    0

    FUSE
    T1.6A L 250V 20MM

    AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
    WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK
    DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
    THIS APPARATUS MUST BE EARTHED BY THE POWER CORD.
    EXT

    INT

    100 - 240 V AC ~ 47- 63 Hz 90W MAX

    SERIAL NUMBER

    CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING
    ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.

    ACTIVE POWER SUPPLY
    USE ONLY THE RECOMMENDED A&H BACKUP POWER SUPPLY

    ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

    DIRECT
    OUT
    7

    DIRECT
    OUT
    6

    DIRECT
    OUT
    5

    DIRECT
    OUT
    4

    DIRECT
    OUT
    3

    DIRECT
    OUT
    2

    DIRECT
    OUT
    1

    INSERT
    7

    INSERT
    6

    INSERT
    5

    INSERT
    4

    INSERT
    3

    INSERT
    2

    INSERT
    1

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    LINE IN

    7
    MIC IN

    6

    5

    MIC IN

    4

    MIC IN

    MIC IN

    3

    2

    MIC IN

    MIC IN

    1
    MIC IN

    SYS-LINK V2 CONSOLE EXPANDER ( option )
    OUTPUT

    GL2400 User Guide

    8
    MIC IN

    GRP/AUX REVERSE

    GRP 1

    GRP

    MIC OUT
    15

    (BREAKPOINT)

    ST4

    INSERT
    4

    AUX 5

    OUT

    LAMP

    INSERT
    L

    R
    LISTEN WEDGE

    MATRIX EXT IN
    IN1
    IN2
    IN3
    IN4

    INPUT

    7



  • Page 8

    Introducing the Allen & Heath GL2400
    The GL2400 is a 4-bus dual function analogue mixing console designed for professional
    audio applications. Whether mixing FOH, monitors or both, recording live or in the studio,
    installed in a busy venue, out on the road touring, or earning its keep in rental stock, the
    GL2400 provides the perfect solution. Engineered to the same exacting standards as
    our top of the range consoles it ensures the highest reliability and finest sonic performance.
    We have taken the outstanding success of our industry leading GL2200 and provided yet
    more innovative capability and enhanced performance for modern mixing.

    8



    16, 24, 32, 40 channel frames



    LR main mix



    Multi- mode M output



    4 Group sends



    6 Aux sends



    7x4 Matrix



    Proper dual functionality for FOH/Monitor mixing



    Recording capable



    M can be configured as LR sum, C mix, Wedge, or Aux-Fed Sub master



    Sub grouping with pan control



    Matrix external inputs with level trims and common input capability



    2 stereo channels each with mic and dual stereo line inputs



    Stereo channel mic input can cross patch into matrix for ambience feed



    Stereo channel line inputs can be assigned independently to LR



    Responsive 4 band, 2 sweep EQ



    100Hz channel high pass filters



    Individual phantom power



    Polarity switching



    Channel and master meters



    Channel direct outputs



    Per channel pre/post fader aux switching



    Internal jumper plugs for pre/post-EQ aux, direct out and other options



    Mutes on all fader masters



    100mm dust protected faders



    Assignable talkback



    1kHz oscillator / pink noise generator



    2-Track monitoring and replay to LR



    Headphones and local monitor outputs



    Dedicated stereo monitor meters



    Electronically balanced XLR outputs with +26dBu drive capability



    Preamp +34dBu maximum input capability for mic or line



    Ultra low noise mix head amp design



    Internal power supply with redundant backup supply input



    Metal jacks, gold-plated XLRs, sealed pots and switches



    Individual circuit card assembly with nutted pots



    Solid copper bus grounding



    Sys-Link V2 console linking option



    4-pin lamp sockets

    GL2400 User Guide



  • Page 9

    Here are just a few key points we considered when specifying the GL2400:

    Affordability We understand your need to work within a realistic budget and know you
    want to get the very best return for your investment. We know too that even the lowest
    budget shows put the same tough demands on the operator who wants the reassurance of
    continued reliability and intuitive control, the satisfaction of achieving that special sound,
    and the functionality to deal with the trickiest situations. We have avoided the temptation of
    designing in costly plastic trims and needless external add-ons for styling only. Instead we
    have invested every penny of our budget into parts that make a real difference in improving
    performance, durability and flexibility of use, whether the comfortable soft feel armrest, the
    practically shaped space saving steel chassis, the wide viewing angle meter design, the
    exceptional feature set, or the ‘under the bonnet’ engineering such as the solid copper
    grounding strip, individual cards, circuit enhancements and more. The result is a nononsense, durable mixing tool right for its application… a sensible investment.

    Reliability Without doubt, the most important quality for any equipment intended for the
    professional application. The GL2400 uses the well proven and long term serviceable
    Allen & Heath method of individual channel card construction with every potentiometer
    nutted to the front panel, a solid steel chassis with rigid beam front extrusion, 100mm
    smooth travel faders with protective dust covers, metal bodied jacks and gold-plated
    Neutrik XLRs, and sealed Alps pots and switches to ensure you can mix with confidence
    show after show. The console power supply has a wide input range, plenty of overhead
    and even includes a backup supply capability for added security.

    Performance The GL2400 benefits from our latest circuit developments which have
    improved the sound and responsiveness of the mic preamp and EQ, and achieved
    astonishingly low residual noise from the mix head amp and output stages, crucial when
    mixing into modern high powered speaker systems. The new mic preamp maintains ultra
    low distortion and can accept as much as+34dBu to deal with the hottest signal you are
    ever likely to plug in. The XLR outputs provide proper differential drive up to a massive
    +26dBu to work with the longest and most hostile cable environments. Extensive listening
    evaluation together with solid engineering practice have ensured the console achieves
    accurate sound reproduction under all conditions.
    Capability We know a thing or two about ‘Dual Functionality’ having pioneered this
    innovative feature back in the early 90’s. The GL2400 takes this an important stage
    further. Tamperproof recessed switches configure the console safely for optimum FOH or
    stage monitor operation, or for mixing monitors from FOH. In FOH mode you even get a
    fader controlled XLR ‘M’ output which can be configured to drive a mono PA or fill, or to
    work with an aux to create a ‘C’ mix within an LCR system, or as a convenient master
    control when using the increasingly popular ‘aux-fed-subs’ technique. In MONITOR mode
    the ‘M’ fader becomes the engineer’s monitor wedge control, you get all six aux masters
    available on faders with mutes, inserts, meters and electronically balanced XLR drive, and
    you still get the 4 subgroups to LR, and the groups/LR feeding the matrix. Unique at this
    price point we have added a 7x4 matrix to give you even greater mixing capability. For
    example, in FOH mode you can create independent fill speaker and acoustics
    compensated recording feeds, even capturing the atmosphere by cross patching the stereo
    channel mic preamps into the matrix to add individual or common mono or stereo
    ambience signals. In MONITOR mode the matrix gives you yet more monitor outputs easily
    created from the groups and LR with added ambience for the in-ear application. This
    compact console can feed up to 10 independent mixes, for example 6 wedges and 4 mono
    or 2 stereo IEM. We have also considered the RECORDING application with direct outputs
    on all mono channels, 4 groups, matrix and not least the studio quality analogue mic
    preamps and EQ. Whatever your application you get full control with nothing wasted.
    Attention to detail In true Allen & Heath form, every detail has been meticulously
    thought through. Take for example, the compact, no frills chassis that gives you a seat
    saving, flight case convenient footprint, the provision of individual channel rather than
    restrictive global pre/post aux switching, comprehensive talkback, the built-in tone/pink
    noise generator for system checking, full channel and main output metering, the multifunctional stereo strips with patchable mic pre’s and dual assignable stereo inputs, the host
    of internal pluggable jumper options, Sys-Link V2 console expansion… and much more.
    We hope you enjoy being as creative using the GL2400 as our team enjoyed creating it.
    Carey Davies, Head of Design, and sound guy too…

    GL2400 User Guide

    9



  • Page 10

    Installing the Console
    The GL2400 has a space saving, compact chassis design. This is convenient both in
    saving seats for the paying audience in a busy venue, and in reducing the size, complexity
    and weight of flight casing for on-the-road use. The control surface has a 10 degree slope
    for optimum visibility during operation. The rear connector panel has a split angle design
    for ease of plugging and unplugging the connectors.

    Free Standing The console has rubber feet fitted for free standing operation on a flat
    surface. Make sure the surface is well supported, stable and big enough for the console to
    sit securely on all its feet. Allow enough space behind the console for access to its
    connectors.

    Flight Casing The console is shaped for easy flight casing. Make sure it is supported
    on all sides using suitably thick, shock absorbent foam intended for this purpose. Ensure
    no part of the case or its lid touches the controls or connectors. If you include a rear
    ‘doghouse’ to house the connections make sure the cables can be supported in a way that
    prevents putting stress on the console connectors. To prevent transit damage through
    inadequate protection, we recommend you have the flight case supplied or approved by a
    professional, specialist equipment case manufacturer.

    Do not obstruct the ventilation openings on the top and rear surfaces. Ensure
    adequate air flow around these surfaces. To avoid audible hum, buzz or other
    performance degradation, do not place equipment that radiates strong
    electromagnetic fields such as mains power supplies, amplifiers and computers next
    to or directly underneath the console.

    5

    547

    6

    63
    553

    21

    57

    149

    77

    GL2400-416 = 609
    GL2400-424 = 817
    GL2400-432 = 1025
    GL2400-440 = 1233

    10

    GL2400-416 =

    14 MONO / 2 STEREO INPUTS

    GL2400-424 =

    14 MONO / 2 STEREO INPUTS

    GL2400-432 =

    14 MONO / 2 STEREO INPUTS

    GL2400-440 =

    22 MONO / 2 STEREO INPUTS

    MASTER
    SECTION

    GL2400-424 =

    8 MONO INPUTS

    GL2400-432 =

    16 MONO INPUTS

    GL2400-440 =

    16 MONO INPUTS

    GL2400 User Guide

    560



  • Page 11

    Connecting Power
    CAUTION
    RISK OF ELECTRIC SHOCK
    DO NOT OPEN

    EXT DC IN

    ON/OFF
    I

    MAINS INPUT

    0

    FUSE
    T1.6A L 250V 20MM

    AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
    WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK
    DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
    THIS APPARATUS MUST BE EARTHED BY THE POWER CORD.
    EXT

    INT

    SERIAL NUMBER

    ACTIVE POWER SUPPLY
    USE ONLY THE RECOMMENDED A&H BACKUP POWER SUPPLY

    100 - 240 V AC ~ 47- 63 Hz 90W MAX
    CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING.
    ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.

    Read and understand the Important Safety Instructions printed at the start of this guide,
    and the warnings printed on the rear of the console. Check that the console power supply
    mains voltage input is the same as your local supply. Check that the correct mains lead
    with moulded plug has been provided with your console. Make sure that the IEC mains
    plug is pressed fully into the panel socket before switching on.

    Grounding
    The connection to ground in an audio system is important for two reasons:
    1.

    SAFETY - To protect the operator from high voltage electric shock, and

    2. AUDIO PERFORMANCE - To minimise the effect of ground (earth) loops which result in
    audible hum and buzz, and to shield the audio signals from interference.
    For safety it is important that all equipment grounds are connected to mains ground so that
    exposed metal parts are prevented from carrying high voltage which can injure or even kill
    the operator. Do not disconnect the ground connection in the mains lead. It is
    recommended that the system engineer check the continuity of the safety ground from all
    points in the system including microphone bodies, turntable chassis, equipment cases,
    rack metalwork and so on.

    Switching the console on and off
    It is good practice to turn power amplifiers off before switching the console and any other
    connected equipment on or off. This prevents any unexpected clicks or thumps when the
    equipment is powered up.
    Turn amplifiers and powered speakers on last and off first.
    To turn the console on, press the ON/OFF switch next to the IEC mains input socket. To
    turn the console off, press this switch again.

    Connecting a backup supply
    A socket is included for plugging in an optional backup power supply. This provides the
    reassurance of power supply dual redundancy, a feature usually found only on expensive
    top end consoles. The console uses diode combining technology so that both supplies
    can be powered at the same time. One will automatically take over should the other stop
    working. The recommended backup supply for the GL2400 16, 24 and 32 models is the
    Allen & Heath MPS12 power unit. The recommended backup supply for the 40 channel
    model is the Allen & Heath RPS11 power unit.
    Only plug the recommended Allen & Heath power unit into this socket. Do not
    attempt to modify any other power unit to work with the console. Do not attempt to modify
    or extend the DC power cable that comes with the supply.
    The console can work with just the internal supply powered by mains, or just the backup
    supply, or with both powered at the same time. To ensure uninterrupted performance in
    the unlikely event of a failure, we recommended that both supplies are powered.

    GL2400 User Guide

    11



  • Page 12

    OUTPUT

    INPUT

    XLR male socket

    XLR female socket

    1

    2

    1

    1

    4 = 0V

    LAMP

    PIN 2 = HOT

    3

    1=ground 2=hot +

    BALANCED

    2

    3

    1+3 = 12V

    Female XLR plug

    3=cold UNBALANCED

    3

    2=hot +

    1=ground

    BALANCED

    XLR male plug
    3=cold UNBALANCED

    INPUT / OUTPUT

    HEADPHONES

    UNBALANCED

    link Ring to Sleeve

    Sleeve=ground
    Ring=RIGHT
    Tip=LEFT

    Sleeve=ground
    Ring=cold Tip=hot +

    BALANCED

    19 0V (CHS)
    18 L+
    17 R+
    16 GRP 1+
    15 GRP 2+
    14 GRP 3+
    13 GRP 4+
    12 AUX 1+
    11 AUX 2+
    10 AUX 3+
    9 AUX 4+
    8 AUX 5+
    7 AUX 6+
    6 PFL+
    5 AFL+
    4 nc
    3 PFL DC
    2 AFL DC
    1 0V (PAFL)

    SYS-LINK
    V2 OPTION
    SYS-LINK
    II OUTPUT
    OPTION

    INSERT

    12

    Ring=return
    Tip=send

    L- 37
    R- 36
    GRP 1- 35
    GRP 2- 34
    GRP 3- 33
    GRP 4- 32
    AUX 1- 31
    AUX 2- 30
    AUX 3- 29
    AUX 4- 28
    AUX 5- 27
    AUX 6- 26
    PFL- 25
    AFL- 24
    nc 23
    nc 22
    nc 21
    nc 20

    Sleeve=ground
    UNBALANCED

    GL2400 User Guide



  • Page 13

    Audio Connections
    The GL2400 uses professional grade 3 pin XLR and 1/4" TRS (3 pole) jack sockets. To
    ensure best performance, we recommend that you use high quality audio cables and
    connectors, and take time to check for reliable and accurate cable assembly. It is well
    known that most audio system problems are due to faulty or sub standard interconnecting
    leads. The following plugs may be used to connect audio to the console:

    Avoid reversing + and - on balanced connections as this will result in reversed polarity (out
    of phase) signals which may cause signal cancellation effects.
    Where long cables runs are required, balanced interconnections should be used. However,
    line level interconnections between more affordable 2-wire (signal, ground) unbalanced
    equipment and the console are unlikely to cause problems if the cables are kept shorter
    than 10 metres or so. Refer to the wiring diagrams on the opposite page.

    Dealing with Ground Loops, Buzz and Interference
    For optimum performance all audio signals should be referenced to a solid, noise-free
    ground (earth) point, frequently referred to as the ‘star point’ or ‘clean earth’.
    A ground loop is created when potential differences exist between grounds at different
    points in the system, and the signal has more than one path to ground. In most cases
    ground loops do not result in audible problems. Should you experience hum or buzz
    caused by a ground loop, check first that each piece of equipment has its own separate
    path to ground. If so, operate ground lift switches on connected equipment in accordance
    with the instruction manuals. Alternatively disconnect the cable screen at the destination
    end only. This breaks the offending loop while keeping the signal shielding down the
    length of cable.
    WARNING For operator safety, do not remove the ground (earth) connection
    in the power lead of the console or connected equipment.
    To avoid interference pickup keep audio cables away from mains power units and cables,
    lighting cables, thyristor dimmer units, computer equipment and mobile phones. Where
    this cannot be avoided, cross the cables at right angles to minimise interference

    A note about balanced connections
    A differentially balanced connection has two signal wires, signal + (hot) and signal - (cold)
    and a shield. The signal source generates positive going polarity down the + wire and
    negative polarity down the – wire. The destination input stage accepts the + signal on its
    non-inverting (+) input pin, but it inverts the – signal, adding it to the + signal. The result is
    that the wanted signal is boosted. Now examine what happens when unwanted
    interference (hum and noise) is induced into the cable. The noise is induced equally and
    with the same polarity into both wires. At the destination input the – wire signal gets
    inverted and added to the + signal. Because the polarity is the same on both input wires
    the noise cancels itself out at this input. For this interference rejection to work it is important
    that the source, the cable and the destination input are all balanced. Balancing provides
    greatest advantage with low level signals such as those produced by microphones.
    An impedance balanced output provides similar interference rejection, but not as much
    maximum drive capability as the differentially balanced output, typically +20dBu versus
    +26dBu. It does not generate a negative polarity signal at its – output. Instead, the – wire
    has no signal but is held at the same impedance as the + wire. This means that both wires
    pick up the noise equally resulting in the advantage of noise cancellation as described
    above when connected to a balanced input stage.

    GL2400 User Guide

    13



  • Page 14

    The Console Connectors
    MONO CHANNEL MIC / LINE IN The LINE (PAD) switch selects
    either the MIC XLR or the LINE TRS jack as the input source. The XLR is
    normalled through the TRS jack so that it can be used for microphone or
    line level signals when nothing is plugged into the jack socket. This gives
    the channel preamp a massive headroom with +34dBu maximum input
    capability using XLR or jack. Both inputs are balanced but can be wired
    to work with unbalanced signals when
    INPUT
    required. The MIC XLR can be switched to
    +IN
    1
    2
    MIC
    provide +48V DC via 6k8 ohm resistors to
    - IN
    pins 2 and 3 for microphones such as
    3
    condensers which require phantom powering.
    TIP +IN

    DIRECT
    OUT
    24
    INSERT
    24

    LINE IN

    24
    MIC IN

    RING -IN

    LINE

    WARNING: Do not connect unbalanced sources or cables to
    the XLR input when 48V phantom power is selected. To avoid loud
    clicks always turn the channel off by pressing MUTE when switching
    +48V on or off, and when plugging or unplugging cables.

    STEREO CHANNEL MIC IN

    MIC OUT
    16

    ST4
    L/M

    Each stereo channel features a
    mono microphone XLR input and two independent stereo line inputs. The
    balanced MIC input accepts a maximum +14dBu and can be switched to
    provide 48V phantom power.

    (BREAKPOINT)

    ST3
    L/M

    STEREO CHANNEL MIC OUT The output of the mic preamp is
    R

    available on the MIC OUT (BREAKPOINT) TRS jack socket. This is
    impedance balanced and operates at a nominal 0dBu line level.
    Plugging into this socket breaks the signal into the associated stereo
    channel. This means that the mic preamp can be used independently of
    the channel, for example to create an ambience mic feed for recording, or
    as a preamp for an RTA measurement system.

    R

    MIC IN

    16

    STEREO CHANNEL LINE IN

    Stereo inputs ST1 and ST2 feed
    channel 15, and ST3 and ST4 feed channel 16 respectively, or can be
    routed directly to LR.
    These inputs use TRS jacks.
    ST1,3 are
    unbalanced, ST2,4 are balanced. Unbalanced inputs automatically
    connect the TRS ring to ground when working with balanced sources.
    The L input is normalled through the R socket to accept mono signals on
    a single jack.
    TIP

    INSERT

    RING

    SEND
    RETURN
    PROCESSOR

    RETURN

    OUT

    SEND

    GROUND
    RETURN
    SEND

    INSERT A single 3-pole TRS jack carries the unbalanced insert signal
    for each mono channel and main mix output. Tip = send, Ring = return,
    Sleeve = common ground. The channel inserts are post-HPF, pre-EQ
    and operate at 0dBu. The group (aux) and LR mix inserts are pre-fader
    and operate at -2dBu. Use these to patch in line level signal processing
    equipment such as compressors, outboard EQ, delay units and so on.
    The wiring of a suitable cable is shown in the diagram.

    IN
    LINK RING TO SLEEVE TO UNBALANCE

    DIRECT OUTPUT Each mono channel direct output is available on
    LAMP

    an impedance balanced TRS jack providing a line level signal operating at
    0dBu. The source is set using an internal option jumper for each channel.
    The factory default setting is pre-fade (following the pre/post-EQ setting).
    This may be changed to post-fade if preferred.

    LAMP The 16 channel console has one, the larger models have two
    4pin XLR sockets to plug in standard 12V gooseneck lamps to illuminate
    the operating surface when working in a dark environment. Only use
    lamps intended for this purpose. We recommend the Allen & Heath
    LEDlamp with cool white LED illumination and a built in dimmer.

    14

    GL2400 User Guide



  • Page 15

    AUX
    6

    AUX
    5

    AUX
    4

    AUX
    3

    AUX
    2

    AUX
    1

    Operating Modes
    In FOH mode, LR feeds the
    main PA. M sums the L and R
    post-fade signals to provide an
    additional feed for a mono fill
    speaker or zone, or a main feed
    into a mono PA. Groups 1-4
    may be used for multitrack
    recording, zone feeds and so
    on, or simply left unconnected
    where they are used as
    ‘subgroups’ to LR for level
    masters
    and/or
    inserted
    processing.
    In monitor mode Groups 1-4
    and LR XLRs and inserts
    become the aux mix masters.
    M becomes the engineer’s
    listen wedge AFL/PFL feed.
    This configures the console
    with 6 main stage monitor and
    an engineer’s output.
    The
    groups and LR are still available
    via the matrix to provide yet
    more monitor feeds.

    R
    LISTEN WEDGE

    OUT

    M

    AUX 6

    OUT

    R

    L
    AUX 5

    OUT

    L

    GRP 4

    GRP 3
    AUX 4

    GRP

    4

    GRP 2
    AUX 3

    GRP

    3

    GRP/AUX REVERSE

    GRP 1
    AUX 2

    GRP

    2

    AUX 1

    GRP

    1

    GROUP, L, R, M OUT The main console mix outputs are on
    electronically balanced XLR. These produce the professional standard
    +4dBu when the meters read ‘0’, and provide up to a maximum +25dBu.
    The L and R outputs typically feed the house PA system in live sound
    mixing, or a 2-track recorder in studio mixing. In monitor mode, these
    outputs reverse with the Aux TRS jack connections.
    AUX OUT 1-6 Each aux send is available on an impedance balanced
    TRS jack operating at -2dBu line level. An internal option is available to fit
    a balanced line driver IC to provide an electronically balanced output
    operating at +4dBu. Note that it is not usual to require this option as the
    impedance balanced standard drive provides sufficient interference
    rejection when feeding balanced equipment inputs. The aux sends are
    typically used to feed monitors, effects devices such as reverb and delay,
    and for special mix requirements. In monitor mode, these outputs reverse
    with the group and LR XLR connections.

    MATRIX OUT 1-4 Each matrix output is available on an impedance
    EXT
    IN
    4

    EXT
    IN
    3

    EXT
    IN
    2

    EXT
    IN
    1

    MTX
    4

    MTX
    3

    MTX
    2

    MTX
    1

    MATRIX EXT IN
    IN1
    IN2
    IN3
    IN4

    R

    R

    2TRK IN

    2TRK OUT

    MONITOR
    R
    OUT

    MATRIX EXT IN 1-4 Each matrix has an unbalanced 0dBu line level
    TRS jack input. An external signal such as ambience mix, additional or
    sub mixer, remote source, reference tone and so on may be mixed in to
    each matrix. The inputs are normalled as shown in the diagram here.
    This means that you can plug in just one jack (EXT1) as a common
    source to all matrix, two jacks (EXT1,2) as a common stereo source to
    matrix pairs, or four independent sources. This is ideal for adding mono
    or stereo ambience to recordings or in-ear monitors fed from the matrix.
    2-TRACK IN and OUT

    L/M

    L

    L

    SYS-LINK V2 CONSOLE EXPANDER ( option )
    OUTPUT

    balanced TRS jack operating at -2dBu line level. An internal option is
    available to fit a balanced line driver IC to provide an electronically
    balanced output operating at +4dBu. The matrix outputs are typically
    used for stereo or mono recording or broadcast feeds, delay and fill
    speakers, zone feeds, additional monitors such as IEM, hearing assist
    loops and so on.

    INPUT

    GL2400 User Guide

    Unbalanced TRS jack outputs and TRS
    inputs connect to popular recording and playback devices such as CD,
    MiniDisc, computers and tape machines. Nominal line level is -2dBu.
    The 2-track SEND always follows the post-fade LR mix regardless of
    mode switch configuration. The 2-track RETURN can be used for
    monitoring a mono or stereo recording, or as a simple input for playback
    of walk-in and background music. The L input normals through the R
    socket for plugging in a mono source on a single jack.

    MONITOR OUT

    These impedance balanced line level TRS jack
    outputs follow the post-level monitor signal. Separate sockets are
    provided for the L and R signals. Use these to feed local speaker or other
    monitor systems.

    SYS-LINK V2 OPTION A blank plate is fitted here as standard.
    The GL2400 Sys-Link V2 (version 2) input/output option kit is available
    from Allen & Heath. Refer to OPTIONS later in this guide.

    15



  • Page 16

    The MONO Input Channel

    +48V

    POLARITY

    +48V Switches +48VDC to the channel input XLR for powering
    microphones or DI boxes that need phantom power. The power is
    current limited through 6k8 ohm resistors to pins 2 and 3.

    LINE

    (PAD)
    0

    20

    30

    40

    GAIN

    50

    -14

    6

    60 40

    HPF

    100Hz

    HF

    WARNING: Do not connect unbalanced sources or cables to
    inputs with phantom power selected. To avoid loud clicks always
    mute the channel before switching +48V on or off and when
    plugging or unplugging microphones.

    12k
    -15
    1k

    3k +15
    4k

    700

    HM

    6k

    500Hz

    -15
    70

    15k

    180

    +15
    250

    45

    LM

    400

    35Hz

    1k

    -15

    +15

    LF
    80Hz

    -15

    POLARITY Reverses the polarity (+ and – connections) of the
    input source. Useful when using the ‘above/below’ mic technique, for
    example when miking a snare drum with two microphones, or for
    correcting mic placement and cable wiring errors.

    +15

    EQ IN

    LINE (PAD) Press this switch to select the channel TRS jack LINE
    input. Release the switch to select the XLR MIC input. The XLR
    normals through the TRS socket. With nothing plugged into the line
    input the switch therefore becomes a PAD for the mic XLR. It
    attenuates the input signal by 20dB for connection to high level
    microphone or line sources. This gives the mic preamp a massive
    74dB range and headroom of +34dB to deal with the hottest signals.

    AUX

    1

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    AUX

    2

    AUX

    3

    AUX

    4

    POST
    PRE
    AUX

    5

    OO

    +6

    OO

    +6

    AUX

    6

    POST
    PRE
    =

    PAN

    L
    ODD

    R
    EVEN

    GAIN Adjusts the input sensitivity to match the connected source to
    the internal 0dBu operating level of the channel. Provides a variable
    54dB range from +6 to +60dB gain (mic), or -14 to +40dB (line,
    padded mic). The gain should be set so that the channel meters
    average ‘0’ with loudest moments lighting ‘+6’. Reduce gain if the red
    peak indicator lights.
    Important note on setting channel levels: Use PFL to set the GAIN
    controls for correct signal level through each channel. The main LR
    meters provide a high resolution display of the channel signal level.
    Use the faders to balance each signal in the mix. To ensure optimum
    gain structure we do not recommend the practice of setting the faders
    to ‘0’ and mixing using the GAIN controls.

    HPF Switches in the channel high pass filter. This attenuates
    frequencies below 100Hz by 12dB per octave. The filter is pre-insert,
    pre-EQ. Select the HPF to reduce low frequency noise such as
    microphone popping, stage noise and tape transport rumble.

    MUTE

    EQ A responsive 4-band semi parametric EQ (equaliser) provides
    independent control of four frequency bands. Use EQ IN to compare
    the sound with the equaliser switched in or out of circuit.
    HF and LF are shelving filters which affect high frequencies above
    12kHz, and low frequencies below 80Hz respectively. HM and LM are
    bell shaped peak/dip filters which affect frequencies around a centre
    point which can be swept from 500Hz to 15kHz, and 35Hz to 1kHz
    respectively. These have a width (Q) of 1.8 which provides effective
    control for both creative and corrective equalisation. The EQ curves
    shown opposite display the signal level response at maximum boost
    and cut as the frequency varies from low (20Hz) to high (20kHz).
    All bands can be boosted or cut by up to 15dB and have a centre
    detent 0dB position. The overlapping frequency ranges let you deal
    with challenging source problems easily using combinations of bands.
    Check that you are using the best microphone type and placement
    before using the EQ. Start with the EQ set flat and apply only as much
    boost or cut as is really needed. When dealing with problem
    frequencies cut rather than boost where possible.

    16

    GL2400 User Guide



  • Page 17

    AUX SENDS

    These rotary controls adjust how much channel
    signal is mixed to the aux outputs. Each of the 6 auxes has its own
    control. They adjusts from fully off to +6dB boost. Unity gain 0dB is
    marked at 3 o’clock position. Auxes 1-4, 5-6 are switched pre/post.
    The settings may be changed if preferred by repositioning internal
    jumper link options. They offer several different combinations of pre
    and post-fade sends, and a post-EQ option for the pre-fade sends.
    More detail is provided in OPTIONS later in this guide.

    HPF
    +5
    0dB
    -5
    -10
    -15
    -20
    -25
    -30
    -35
    -40

    10

    20

    50

    100

    200

    500

    1k

    2k

    5k

    10k

    LF / HF
    +20
    +15
    +10
    +5
    0dB
    -5
    -10

    PRE

    When pressed, the pre-fade channel signal is sent to the
    associated auxes. When released, the post-fade signal is sent. Auxes
    1 to 4 and 5, 6 are grouped for pre/post switching. Default setting is
    pre-insert, pre-EQ so that inserted compressors and EQ do not affect
    the sends when mixing monitors from FOH. You can change this by
    repositioning the internal option jumpers.

    -15
    -20

    Pre-fade aux sends are not affected by the channel fader movements.
    These are typically used to feed stage monitors. In most cases users
    also prefer that the monitor sends are not affected by inserted
    processors or the channel EQ. Post-fade aux sends follow the
    channel faders and are typically used to send a proportion of the
    channel signal to an effects device such as reverb or delay. Note that
    post-fade sends may be preferred when the console is configured in
    monitor mode so that the faders become ‘masters’ for all monitor
    mixes. Pre or post-fade sends may also be used for special
    applications such as recording, zone feeds, clean feeds and aux fed
    subs or centre speaker.

    20

    50

    100 200

    500

    1k

    2k

    5k

    10k

    HM
    +20
    +15

    PAN

    Positions the channel signal between L/R in the stereo mix,
    and odd/even if routed to the groups. The centre position (mono
    image) is detented for quick resetting.

    +10
    +5
    0dB
    -5

    MUTE When pressed, the channel signal is turned off. This affects

    -10

    the feed to the LR mix, pre and post-fade aux sends and direct output,
    but does not affect the insert send. The red indicator lights when the
    channel is muted. Always mute the channel when switching phantom
    power or plugging the cables and sources.

    -15
    -20

    20

    50

    100 200

    500

    1k

    2k

    5k

    10k

    20k

    LM

    PFL Press PFL to listen to the pre-fade channel signal in the
    headphones and local monitor without affecting the main outputs.
    The console PFL/AFL active red indicator lights and the monitor LR
    meters display the channel signal. The PFL switch yellow indicator
    lights to show that PFL has been selected on that channel. Selecting
    more than one PFL at the same time mixes those signals together in
    the monitor.

    +20
    +15
    +10
    +5
    0dB
    -5
    -10

    METER A 4 LED channel meter displays the pre-fader signal level.
    100

    +20
    +16
    +12
    +9
    +6
    +3
    +1
    0
    -1
    -3
    -6
    -9
    -12
    -16
    -20
    -30
    -40
    -50
    -60
    -70

    200

    500

    1k

    2k

    5k

    10k

    CLIPPING

    SIGNAL

    DYNAMIC RANGE

    50

    HEADROOM

    20

    SIGNAL-TO-NOISE RATIO

    -20

    NORMAL OPERATING RANGE

    -15

    ‘SIG’ lights when a signal level of -12dBu is detected. ‘0’ lights when
    the nominal 0dBu level is reached, and ‘+6’ at +6dBu. ‘PK’ lights
    when the channel pre-fade signal is within 5dB of clipping. This gives
    you enough warning to reduce GAIN before you hear signal distortion.

    ROUTING Press L-R to route the channel signal to the main LR
    mix. Press 1-2 or 3-4 to route to the groups. Use PAN to position the
    signal between L/R or the odd/even group pairs. To route to a single
    group set PAN fully to one side. You can route to L-R and all groups
    simultaneously by pressing all switches. Check that you have set
    these switches correctly before you start mixing.
    FADER A high quality 100mm smooth travel fader with protective

    -80
    -90

    !

    20k

    NOISE

    GL2400 User Guide

    dust cover controls the channel level feeding the main LR mix, groups
    and post-fade aux sends. It also affects the direct output if this has
    been set to post-fade using the internal option jumpers. The fader
    provides +10dB maximum boost above its normal unity gain 0dB
    position.

    17



  • Page 18

    The STEREO Input Channel

    +48V
    20

    MIC

    30

    40

    GAIN

    50
    60

    6

    ST3

    -5

    0
    5

    -10
    -20

    10
    16

    OO

    STEREO

    CH16

    LR

    ST4

    -5

    0
    5

    -10
    -20

    10
    16

    OO

    STEREO

    CH16

    LR

    HF
    12k
    -15

    +15

    -15

    +15

    -15

    +15

    HM
    2k5

    LM
    250Hz

    LF
    80Hz
    -15

    +15

    EQ IN
    AUX

    1

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    AUX

    2

    AUX

    3

    AUX

    4

    POST
    PRE
    AUX

    5

    OO

    +6

    OO

    +6

    AUX

    6

    POST
    PRE
    =

    BAL

    L
    ODD

    R
    EVEN

    MUTE

    Each GL2400 stereo channel features a mono microphone preamp
    as well as two stereo line inputs. These three sources can be used
    independently or mixed together into the channel, so providing a
    unique flexibility. For example, you could configure a conventional
    mono microphone channel with the two ‘short return’ stereos routed
    direct to LR for effects. Alternatively you could patch the mic stage as
    an independent preamp for an ambience microphone feeding a
    recording, or for a system calibration microphone, while the ST line
    inputs mix two external stereo effects processor returns or sound
    effects players via a single channel. This can be useful in saving
    channels, letting you mix many inputs in a small space. Of course,
    one stereo could feed the channel, the other route direct to LR. Two
    stereo channels could be linked so that the mic preamps cross patch
    to provide one stereo mic and one stereo line channel, with two ‘short
    returns’ also available… See ‘Operating Tips’ later in this guide.

    MIC INPUT Similar to the mono channel microphone preamplifier
    without the line (pad) and polarity switches. Gain and 48V phantom
    power switching are included. A rear panel MIC OUT breakpoint
    socket is provided so that the mic stage can be used independently.
    Plugging a jack into the MIC OUT socket breaks its signal path to the
    stereo channel.
    DUAL STEREO LINE INPUTS Each stereo channel has two
    stereo inputs which can be used separately, mixed together or split so
    that one feeds the channel, the other routes direct to LR. ST1 and 2
    feed channel 15 (23), ST3 and 4 feed channel 16 (24). The L input
    signal is normalled through the R input socket so that a mono source
    may be plugged in to feed both left and right sides of the stereo
    channel. Each input has its own level control to adjust from fully off to
    +16dB gain. Centre position is unity (0dB) gain.
    Routing mode switch

    Recessed to prevent accidental
    operation. In the normal up position the ST signal mixes into the
    associated stereo channel. When pressed the signal is routed direct
    to the LR mix instead of the channel.

    EQ Similar to the mono channel, but the two peak/dip mid bands
    are fixed at 250Hz and 2.5kHz centre frequencies.

    AUX SENDS These work as described for the mono channel, but
    the L and R sides of the stereo signal sum together to feed each aux in
    mono. This can be changed using an internal jumper so that L feeds
    the odd numbered auxes and R feeds even. The auxes can be
    switched pre or post-fader but are always sourced post-EQ.
    BAL Balances the level of the L signal against the R signal to
    compensate for differences in the source, or to position the signal
    within the stereo image.
    MUTE When pressed, all the channel pre and post-fade signals are
    turned off except the MIC OUT and any stereo routed direct to LR.

    PFL Press PFL to display the summed L+R pre-fade channel signal
    on the monitor meters and listen to it in the headphones and local
    monitor without affecting the main outputs.
    METER

    As the mono channel, but the left and right signals are
    summed to display in mono.

    ROUTING As the mono channel, but routes the left signal to L and
    odd groups, right signal to R and even groups.

    FADER The stereo fader provides +10dB maximum boost above
    its normal unity gain 0dB position
    18

    GL2400 User Guide



  • Page 19

    The GROUP / AUX Masters

    AUX

    0

    1

    OO

    +10

    AFL

    REV

    GRP1
    TO LR
    =

    PAN

    L

    R

    PK!
    +6
    0
    SIG

    MUTE

    AFL

    AUX MASTERS Each aux mix has a master level control that
    adjusts the output level to match external equipment, or trims the
    monitor, effect or other send without affecting the mix balance. Up to
    +10dB boost is available above the normal 0dB position. Note that
    this becomes the group or master in monitor mode.
    AUX AFL

    Press AFL to listen to the post-level aux mix in the
    headphones and local monitor without affecting the main outputs.
    The console monitor meters are interrupted with the aux (group)
    signal. The yellow indicator lights to show that AFL has been selected
    on the master. Use AFL to check the signal being sent to the
    monitors, effects or other destination. AFL is pre-mute so that you can
    check the signal before sending it to its destination.

    REV mode switch These switches reverse the function of the
    group and aux masters, the heart of the dual functionality pioneered
    by Allen & Heath. They are recessed to prevent accidental operation.
    Use a pen or pointed object to set their position. In the up position
    (flush with the panel), the group is controlled by the fader and the aux
    by the rotary master. This is typical for FOH mode where the faders
    are used for subgroups feeding the main stereo mix. When pressed,
    the aux uses the fader as the master and the group is moved to the
    rotary control. The aux mix is now presented to rear Group XLR
    complete with insert. The group mix appears at the Aux TRS jack.
    This is used for monitor mode where the auxes are the main mix
    feeding the stage monitors. You can select any combination for the
    FOH and monitor mode, for example, just 3, 4 giving you two fader
    subgroups, two monitor sends on faders, and main LR mix.
    Note: The groups always feed the matrix and the subgroup controls
    (PAN and GRP TO LR) regardless of mode. This means the group mix
    can still perform a useful function when the console is configured in
    monitor mode.

    PAN Positions the group signal between L and R in the stereo mix
    when the GRP TO LR switch is pressed. Using pan you can create
    mono or stereo groups positioned as you require in the main mix. For
    stereo grouping, set the odd group pan fully to the left, and the even
    group pan fully to the right. The centre position (mono image) is
    detented for quick resetting. Note that the group mix always feeds
    these subgroup controls regardless of FOH or monitor mode selected.

    METER

    A 4 LED bar meter displays the post-fade group signal
    (FOH mode), or aux signal (monitor mode, REV pressed).

    MUTE When pressed the group (aux) signal is turned off. This
    affects the feed to the output XLR, LR and matrix. The red indicator
    lights when the channel is muted.
    GROUP AFL Press AFL to listen to the post-fade, pre-mute group
    mix in the headphones and local monitor without affecting the main
    outputs. Note that this becomes the aux mix in monitor mode. The
    console monitor meters are interrupted with the group (aux) signal.
    The yellow indicator lights to show that AFL has been selected on that
    master.

    GROUP FADER A 100mm smooth travel fader controls the group
    mix output level. Note that it becomes the aux mix master in monitor
    mode (REV pressed). The fader provides +10dB maximum boost
    above its normal unity gain 0dB position.

    GL2400 User Guide

    19



  • Page 20

    The AUX 5-6, L-R-M Masters

    AUX

    AUX

    0

    5

    OO

    0

    6

    +10

    OO

    AFL

    +10

    AFL

    REV

    REV

    MODE
    FOH
    MONITOR

    LISTEN WEDGE

    MONO (L+R)
    AUX 6
    (AUX FED SUB)

    PK!
    +6
    0
    SIG

    MUTE

    AFL

    PK!
    +6
    0
    SIG

    M Master A 100mm fader adjusts the level of the signal to the M
    output XLR. The master is fully featured and includes a 4 LED bar
    meter, an AFL switch and a MUTE switch.

    MUTE

    AFL

    LR Masters Separate 100mm faders control the main mix L and R
    output levels. They provide +10dB maximum boost. Each master
    includes a 4 LED bar meter, an AFL switch and a MUTE switch so that
    L and R can be separately monitored and muted. This is most useful
    in monitor mode where these masters carry the AUX5 and AUX6
    signals.

    M SOURCE

    PK!
    +6
    0
    SIG

    AUX 5 and 6 Masters These function in the same way as
    described for auxes 1 to 4. In monitor mode, the recessed REV switch
    reverses the AUX5 master with L, and AUX6 with R. Here the aux
    signals are presented to the L and R XLR outputs complete with their
    inserts. The LR mix swaps on to the Aux TRS jack outputs. Note that
    the LR mix always feeds the matrix and 2-track regardless of mode
    selected.

    AFL

    The M output adds a true touch of genius to the versatility of the
    GL2400. The source is selected using two mode switches above
    the R fader. These are recessed to prevent accidental operation. Use
    a pen or pointed object to set the position.
    FOH mode – With both switches in the up position (flush with the
    panel), the post-fade L and R mix are summed together to provide a
    mono source. Use this to feed a mono PA, fill, delay or zone speakers,
    or even a mono broadcast or recording send.
    Monitor mode - Press the upper switch to create an engineer’s
    monitor listen wedge feed from the AFL/PFL mix. Note that in this
    mode the M AFL switch is disabled. It is common to use a wedge
    speaker of the same type used on stage to listen to and check the
    various monitor mixes being sent to the performers. Together with the
    group/aux REV function, the GL2400 can be configured as a
    compact yet fully featured monitor console.
    Aux-Fed-Subs mode – Press only the lower switch to configure M as
    the master for AUX6. This innovative feature is ideal when driving your
    sub bass speakers with their own mix fed from an aux, a technique
    becoming more popular in FOH mixing. This mode provides all the
    main PA masters (L, R and SUB) with faders, meters, MUTE and AFL.
    Using the faders you can adjust the level of the main PA without losing
    the balance between the tops and subs. The signal is not affected by
    the AUX6 rotary master. However, the rotary output can still provide
    another sub feed with its own independent master control.
    Route all sources to LR in the usual way to feed the main ‘top’
    speakers. In addition, route sources with low frequency content such
    as kick drum, bass, keyboards, sound effects to the sub speakers by
    turning up the AUX6 send rotary on those channels. Make sure all
    channel aux 5-6 sends have been set for post-fader operation. Use
    two crossovers, one for the stereo LR mid/top frequencies, the other
    for the sub feed. Set the system up so that the correct balance
    between tops and subs is achieved when the channel send is at its ‘0’
    (3 o’clock) position and the L, R and M faders in line with each other.
    Aux-Fed-Centre mode – The same principle as above, but AUX6 is
    used to feed a centre mix such as a fill or C in an LCR system. To
    route to C only, turn up the channel AUX6 send to 3 0’clock unity
    position, and turn off its assignment switch to LR.

    20

    GL2400 User Guide



  • Page 21

    7x4 MATRIX

    The matrix adds to the powerful multi-tasking capability of the
    GL2400. It provides a set of 4 additional console outputs. It is a
    ‘mixer within a mixer’ creating its output from any combination of the
    groups, main LR mix and external input. It can be used to provide
    duplicate main outputs or to create new mixes from these outputs.
    The matrix controls are positioned conveniently away from the live
    performance controls to avoid accidental operation.
    EXT
    IN

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    GRP

    1

    GRP

    2

    GRP

    Use the matrix to create special mixes for delay fill and zone speakers,
    recording and broadcast feeds, IEM (in-ear monitors), hearing assist
    loops and so on. Mono and stereo feeds can be created. For
    example, mix L and R to create a mono sum output to feed an
    additional zone, or use two matrix outputs with L fed to one, R to the
    other to create an independent stereo main output. Mix in an external
    source such as an ambience microphone preamp to add atmosphere
    and audience reaction to a recording or monitor. Compensate for an
    acoustically loud backline by boosting selected groups in a live
    recording. For more information, refer to ‘Operating Tips’ later in this
    guide.

    3

    GRP

    4

    OO

    +6

    OO

    +6

    L

    EXT IN Mixes in an external nominal 0dBu line level source. The
    rotary provides +6dB boost. Note that EXT IN jack sockets are
    normalled (linked) in a way that lets you plug in a mono or stereo
    common source to feed all the matrices, or an independent source to
    each. Plug into EXT1 only to feed one source to all four matrix EXT IN
    controls. Plug L into EXT1 and R into EXT2 only to feed a stereo
    source to matrix 1-2 and 3-4.
    MATRIX EXT IN

    R

    OO

    IN1
    IN2
    IN3
    IN4

    +6

    LEVEL

    OO

    +6

    MUTE

    AFL

    Some examples include adding ambience sources to recordings and
    in-ear monitoring, adding a direct output or an aux mix to quickly
    create a monitor from the main mix plus selected channel/s, and
    linking in another console to feed the same PA in a festival or other
    dual console situation.

    GRP 1 (2,3,4) Mixes in the post-fader, post-mute group mix. The
    rotary provides +6dB boost.

    L (R) Mixes in the post-fader, post-mute main LR mix. The rotary
    provides +6dB boost. Turn up both L and R to create a mono sum
    from the stereo LR mix. Turn up L in one matrix, R in another to create
    a stereo output from two matrices.

    LEVEL

    The master level control (fader) for the matrix. Provides
    +6dB boost above the normal ‘0’ setting.

    MUTE

    When pressed the matrix output is turned off. The red
    indicator lights when the matrix is muted. Mute does not affect the
    matrix AFL monitoring.

    AFL

    Press AFL to listen to the post-level matrix mix in the
    headphones and local monitor without affecting the main outputs.
    The console monitor meters are interrupted with the matrix signal.
    The yellow indicator lights to show that AFL has been selected on that
    master. Note that MUTE does not affect the AFL function. This means
    that you can check the matrix signal while its output is muted.

    GL2400 User Guide

    21



  • Page 22

    MONITOR, TALKBACK and SIGNAL GENERATOR

    Console Monitor Comprehensive engineer’s headphones and
    local monitoring is provided. Select either LR or 2-track return as the
    default source using the L-R / 2TRK switch. Pressing PFL or AFL
    elsewhere on the console automatically overrides the current monitor
    source with the signal from the channel or master selection. The red
    PFL/AFL active indicator illuminates and the console meters display
    the active signal.

    TALKBACK

    MIN

    MIC

    PHONES

    Use the MONITOR level control to adjust the level in the headphones
    and local speaker monitor. We recommend you use closed ear
    headphones in the range 30 to 600 ohms designed for live sound
    monitoring. 100 ohm headphones are a popular choice.

    MAX

    OSC/NOISE

    MIN

    2TRK REPLAY

    MAX

    +10

    OO

    1kHz
    PINK
    ON

    2TRK
    TO LR

    L

    L-R
    GRP
    1-4
    AUX
    1-2
    AUX
    3-4
    AUX
    5-6

    TALK

    R

    main outputs. Plug in a suitable cable or gooseneck microphone. A
    good quality dynamic or condenser vocal microphone is
    recommended. Note that +48V phantom power is available at the
    XLR as standard. If you prefer, this can be disabled by repositioning
    an internal jumper link.

    PFL
    AFL

    POWER

    MONITOR

    0

    WARNING: To avoid damage to your hearing do not operate
    any close-to-ear monitoring such as headphones for long periods
    at high volume. Continued exposure to high volume sound can
    cause frequency selective or wide range hearing loss.

    TALKBACK Individually assignable talkback is available to all the

    +16
    +9
    +6
    +3
    0
    -3
    -6
    -9
    -12
    -16
    -20
    -30

    SELECT

    The console monitor meters provide 12 LED indicators to accurately
    display the signal level of the selected monitor source. Reduce the
    gain or level if the red ‘+16’ peak indicator lights. For optimum
    performance the signals should be adjusted to read an average ‘0’
    with loudest peaks reaching around ‘+6’.

    10

    L-R
    2TRK

    WARNING: Do not connect unbalanced sources or cables to
    inputs with phantom power selected. To avoid loud clicks do not
    press the TALK switch when plugging or unplugging the talkback
    microphone.
    First select the source you wish to talk to. You can select the auxes in
    pairs, useful for communicating with the performers on stage. The
    four groups are selected simultaneously, ideal for identifying a
    multitrack recording. You can also talk to LR, ideal for announcements
    to the audience. Once selected, press and hold TALK to route the mic
    to the required destination. Adjust the talkback level using the TRIM
    control below the TB mic XLR. Pressing TALK automatically dims the
    level of the signal generator if it is turned on.

    SIGNAL GENERATOR / PINK NOISE Press to select either
    pink noise (up position) or a 1kHz sine wave tone as the test source.
    Start with the trim control turned fully down. The generator ON switch
    is recessed to prevent accidental operation. Press this with a pen or
    pointed object. The green indicator lights to warn that the generator is
    enabled.
    The generator signal is routed to any source selected on the switch
    bank above the TALK switch. Use the signal to test the loudspeaker
    system and line up connected equipment. Pink noise is useful for
    quickly testing the full range frequency operation and phasing/polarity
    of loudspeakers. The 1kHz tone is better suited to lining up
    equipment with its steady reading on the meters.
    WARNING: We recommend you turn off the signal generator
    once you have finished using it to test and line up your system.
    This will prevent accidental operation during the show.
    22

    GL2400 User Guide



  • Page 23

    GL2400 Applications and Operating Tips
    The following is a collection of brief descriptions, application notes,
    hints and tips to help the operator understand some of the technical
    terms referred to, and to get the most out of the uniquely capable
    GL2400 live sound mixing console. They are written as a concise
    reference to spark your imagination to creatively and effectively deal
    with the many challenges now faced in modern day mixing.

    -40
    -50
    -60
    -70

    SIGNAL

    DYNAMIC RANGE

    -30

    CLIPPING

    HEADROOM

    +20
    +16
    +12
    +9
    +6
    +3
    +1
    0
    -1
    -3
    -6
    -9
    -12
    -16
    -20

    SIGNAL-TO-NOISE RATIO

    NORMAL OPERATING RANGE

    Gain Structure

    -80
    -90

    NOISE



    A search on the Internet
    can reveal a host of additional
    information on setting correct
    gain structure and many other
    audio topics and educational
    resources.

    !

    The term used to describe the gain (level)
    matching of the signal through the audio system chain. Each item in
    the equipment chain has its own optimum (‘nominal’) operating level
    determined by its electrical circuits. If you overload it with a signal that
    is too high then its output tries to produce more voltage than its power
    rails can provide resulting in harsh sounding distortion as the audio
    signal is ‘clipped’. If you work with a signal that is too low then you
    are likely to hear the residual hiss of the circuits as the ‘noise floor’ is
    amplified along with the signal. The optimum operating level is the
    point at which the signal is high enough above the noise floor so that
    the hiss is not heard (good ‘signal-to-noise’ ratio, the SNR), yet
    provides enough space (‘headroom’) before clipping to allow for the
    louder, dynamic musical moments without distortion. ‘Dynamic range’
    specifies the maximum range between noise floor and clipping. It is
    the sum of the SNR and headroom. The larger the figure the better…
    less noise, more headroom, more forgiving to wide ranging signals.
    A microphone produces a very tiny signal, for example -50dBu (a few
    millivolts). This should be amplified by the channel preamp to the
    optimum operating level of the console circuits, around 0dBu
    (0.775V), well clear of the noise floor (typically less than -90dBu), and
    with good headroom (typically clipping at greater than +20dBu). With
    a channel routed at unity gain from preamp input to main output, the
    GL2400 boasts a massive 116dB dynamic range. The signal can
    pass through many stages which affect its level within the console; the
    channel, its EQ, fader, pan, a group mix and its fader, on to the main
    LR mix with its master fader, through the matrix, and of course any
    inserted equipment. The output XLR provides the professional
    standard +4dBu (1.23V) nominal level to the next stage in the audio
    chain, typically a speaker processor such as limiter or crossover, or
    straight to the amplifier. The amp boosts this signal to tens of volts to
    move the speaker cones so producing the audible sound.
    To get the best performance from your system, it is important that you
    set up the gain structure correctly within the console and also within
    and between the connected equipment. Ideally, each circuit should
    be set to clip at the same time if the signal became too hot, in other
    words each would have similar headroom relative to its nominal
    operating level. The resulting dynamic range is the difference
    between the highest noise floor and the lowest headroom through the
    system. The performance is only as good as the weakest link.
    The GL2400 provides comprehensive metering to check every
    point within the console signal path. Use the channel meters and
    PFL/AFL system to set the gains and mix levels to average around ‘0’
    meter reading with usual peaks around ‘+6’. Reduce the gain if the
    red ‘+16’ or ‘PK’ indicator lights.
    Use the equipment meters to set each item within the system path to
    operate at its nominal level. We advise that the speaker processor or
    amplifier trims are set so that the console outputs can drive up to their
    nominal ‘0’ level. It is a common mistake to set amplifier trims to
    maximum sensitivity when this results in the console master faders
    being operated at very low positions, with low meter readings, and
    reduced dynamic range and therefore audible residual system hiss.

    GL2400 User Guide

    23



  • Page 24

    Using the Oscillator / Noise Generator The GL2400
    includes a useful signal generator able to produce a pure 1kHz sine
    wave tone, or a pink noise test source. This is invaluable in testing the
    system components and setting up correct gain structure. The
    generator can be routed independently to the various console outputs.
    OSC/NOISE

    MIN

    MAX

    1kHz
    PINK
    ON

    SELECT
    L-R
    GRP
    1-4
    AUX
    1-2
    AUX
    3-4
    AUX
    5-6

    Use the 1kHz tone to line up the connected equipment. For example,
    a recorder, video camera or broadcast feed from the matrix. Route the
    tone to the groups and turn up GRP1 in the matrix. Set the matrix
    GRP1 and LEVEL controls to their 3 o’clock ‘0’ positions. Press the
    matrix AFL and adjust the oscillator level until the console monitor
    meters read ‘0’. Next, adjust the recorder input trim so that its meters
    also read ‘0’. The recorder is now correctly aligned to the operating
    level of the console. Similarly, you could match the console LR output
    to a DSP speaker processor by sending the tone to LR, setting the
    faders for output meters reading ‘0’, and then trimming the processor
    input for ‘0’ on its meters. To prevent a loud tone through the
    speakers it is best to do this with the amplifiers turned off.
    Use the Pink Noise generator to check the signal routing and
    loudspeaker response. ‘Pink noise’ is a random signal that contains
    all audio frequencies and is therefore a very good test source. Unlike
    ‘white noise’ which has equal energy per Hz and sounds like system
    or inter-band tuner hiss, pink noise has equal energy per octave, a
    response that matches the logarithmic way our ears perceive sound.
    You can hear all the frequencies clearly from deep bass, through mid
    to treble. This means you can route the noise to a speaker system
    and quickly hear if one of the sub, mid or HF drivers is faulty. With the
    noise sent to several speakers at the same time you can listen for
    comb filtering effects, and the severe phasing effect which indicates
    that one of the speakers may have its wires reversed. Pink noise is
    also used with an RTA (real time analyser) when measuring room
    frequency response. Testing a system with pink noise through the
    speakers is often referred to as ‘pinking the room’.
    The GL2400 signal generator is an invaluable tool for calibrating
    and testing the system during setup. To prevent any unexpected
    mishaps during the sound check or show, remember to disable it by
    releasing the recessed ON switch once you have finished the testing.
    We also advise that you always start the calibration with the
    OSC/NOISE trim turned fully off so that you can bring it up gradually
    without the risk of overloading the destination.

    0

    20

    GAIN
    -14

    24

    30

    40
    50

    6

    60 40

    Mixing with faders or gain controls? There is a technique
    used by some operators where they set all the faders to ‘0’ position
    and balance the mix using the channel gain controls. We do not
    advise this method as the signal to noise ratio and control resolution
    can be severely degraded. In addition, it is impossible to mix monitors
    from FOH in this way as changes to the gain settings affect the
    monitors too.
    The correct method is to use GAIN to match the source to the
    operating level of the channel for optimum dynamic range, and then
    use the FADERS to balance each source into the mix. With correct
    system gain structure, prime sources such as vocals would have their
    faders operated around ‘0’ while sources low in the mix such as
    backing vocals and acoustically loud brass and drums would display
    their true contribution with their lower fader positions. This is a much
    more visual and accurate way of mixing.

    GL2400 User Guide



  • Page 25

    AFL

    Using PFL / AFL Allen & Heath are renowned for bringing you
    the most comprehensive engineer’s monitoring system in consoles at
    this price point. We recognise the importance of correct gain structure
    and signal handling. The GL2400 includes LED meters for every
    input channel and main output, as well as a pair of high resolution
    meters dedicated to monitor duty only. In monitor mode the M fader
    and associated controls become a full featured PFL/AFL monitor feed
    for the engineer’s listen wedge.
    The input channels provide PFL (pre-fade listen) so that each source
    can be checked using the meters and headphones before you bring
    the fader up. You can even use PFL while the channel is muted to
    prevent the signal reaching the house and monitor speakers until you
    have checked it and are ready.
    All the main, aux and matrix outputs provide AFL (after-fade listen) so
    that you can check the exact level leaving the console. Once again,
    the AFL switch gets its source before the output mute switch so that
    you can check the signal before you send it to its destination. This
    can be very important when you are feeding remote destinations such
    as broadcast and recording.

    dB

    Tech talk…

    For an audio circuit stage:
    Pi = Input signal power
    Po = Output signal power
    The Decibel is defined as:
    dB = 10 log (Po / Pi)
    = 10 log (Vo2/Ro / Vi2/Ri)
    If input and output impedances
    Ri and R0 are the same, then:
    dB = 20 log (Vo / Vi)
    dBm is defined as 1mW into
    600 ohms = 0.775V
    dBu = 0.775V ignoring the
    600 ohms as we assume high
    input and low output
    impedance and therefore
    maximum voltage transfer
    between stages, appropriate
    for modern audio.



    If you suspect the insert
    socket to be faulty or
    intermittent through excessive
    wear or contamination, test for
    this by plugging in a jack with
    its tip shorted to its ring
    contact. This bypasses the
    contact in the socket. Clean
    using
    suitable
    electrical
    contact cleaner.

    GL2400 User Guide

    The Decibel the ‘Bell’ is the unit of sound level. Decibel is 1/10
    Bell, a more conveniently sized unit. dB = 20 log (Vo / Vi) where Vi
    and Vo are two signal voltages, in and out (ignoring the impedances).
    The dB is used to express the relationship between two levels, chosen
    because of the logarithmic way our ears respond to sound. The ‘dB’
    relates one level to another. For example, a preamp with a gain of
    40dB (100x) would produce an output of +10dBu for an input of 30dBu. Several audio standards exist to relate a signal level to a
    known reference. Audio engineers need to deal with a variety of
    equipment standards, for example, a -10dBV CD player plugged into a
    console with +4dBu outputs connected to a 0dBu input DSP speaker
    manager, or an operator using an SPL (sound pressure level) meter to
    measure sound intensity.
    dBu

    Relative to 0.775Vrms – professional standard
    0dBu = 0.775V

    +4dBu = 1.228V

    dBV

    Relative to 1Vrms - consumer audio standard

    dB-A

    Sound pressure with a filter contour to approximate
    the response of the human ear. Three curves A, B,
    C exist for different loudness.

    dBfs

    Relative to signal maximum before clip (full scale)

    0dBV = 1V

    -10dBV = 316mV = -8dBu

    Using Inserts The GL2400 channel inserts operate at 0dBu,
    the output inserts operate at -2dBu. In practice this makes little
    difference as long as the inserted equipment is intended for line level
    operation (-6 to +4dBu). Simply set the gain through the device to
    unity (0dB) with the bypass switch pressed (if available). With the
    effect switched in, use the console channel gain control to make any
    further adjustments needed. This keeps the gain structure correct
    through the channel signal path.
    INSERT
    SEND
    TIP

    RING

    RETURN

    With nothing plugged into the insert, the channel signal is routed
    through a switching (‘normalling’) contact in the socket. As soon as a
    jack is plugged into the socket the contact is opened and the signal
    path broken so that the external device can be patched in series with
    the signal.

    25



  • Page 26

    Polarity

    POLARITY

    Refers to the positive (+) and negative (-) wires of a
    loudspeaker or balanced audio connection. The console input
    channels include POLARITY switches which reverse the + and – input
    connections. Some applications include correcting for reverse wired
    cables, correcting for microphone placement problems, mixing two
    mics on a snare drum, one above the other below where the
    diaphragms move in opposite directions, and helping to reduce comb
    filtering effects as radio miked actors perform close to each other.
    Polarity is sometimes labelled ‘phase’ on mixing consoles.
    Technically, ‘phase’ is not the correct term as it implies a 180 degree
    time shift. Polarity simply reverses the wires. It does not affect time.
    Before starting your mixing, check that all the channel polarity
    switches are correctly set, normally up (+).

    Mixing the PA in mono or stereo?

    Because a console
    provides an L and R output does not mean you have to mix in stereo.
    It is often convenient to have separate fader control, processor inserts,
    and outputs to drive two mono speaker stacks in an FOH system.
    How much stereo you introduce into your mix depends on where you
    position the pan controls. In most situations the size of the room and
    position of the speakers makes stereo mixing an advantage only for a
    small section of the audience, usually those around the sound
    operator! Those listening near the speakers are likely to lose
    information from the opposite stack. For this reason it is best to mix
    most sources in mono (pan centred). However, it can enhance the
    image by mixing some ‘ambient’ sounds in stereo, for example reverb
    returns, keyboards and special effects. Where the speakers are
    widely placed, you can reduce the stereo image by reducing the
    amount of panning to each side. Whatever image you create it is
    important that you listen to the results and consider the listeners at all
    positions in the room.

    +48V

    +48V

    POLARITY
    EXT
    IN

    EX T
    IN

    EXT
    IN

    EXT
    IN

    +6

    OO

    +6

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    GRP

    GRP

    1

    1

    GRP

    2

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    3

    OO

    +6

    +6

    OO

    +6

    OO

    L

    +6

    OO

    +6

    OO

    +6

    OO

    GRP
    1-4

    R
    +6

    OO

    AUX
    1-2

    +6

    OO

    LEV EL

    LEVEL

    +6

    OO

    MUTE

    +6

    OO

    MUTE

    AFL

    -15

    AUX

    0

    4

    1k

    -15

    +15

    +10

    OO

    +10

    AFL

    OO

    + 10

    AFL

    OO

    OO

    +10

    AFL

    AFL

    REV

    +10

    +6

    R

    L

    +6

    OO

    MUTE

    10

    10

    5

    5

    0

    0

    5

    AFL

    10

    5

    AFL

    A FL

    AFL

    10

    10

    5

    5

    5

    5

    5

    0

    0

    0

    0

    0

    5

    10

    20

    30

    5

    5

    -15

    15k

    100Hz

    -15

    1k

    -15

    +15

    15k

    180 +15
    250

    70

    40 0

    35Hz

    LF
    80Hz

    6k

    500Hz

    18 0 +15
    250

    45

    LM

    +15

    400

    45

    LM

    35Hz

    1k

    -15

    LF

    +15

    80Hz
    -15

    +15

    EQ IN

    -15

    +15

    EQ IN
    AUX

    EQ IN
    AUX

    1

    +6

    OO

    1

    +6

    OO

    AUX

    2

    60 40

    HPF

    3k +15
    4k

    700

    HM

    +6

    OO

    AUX

    2

    2

    +6

    OO

    +6

    OO

    AUX

    3

    +6

    OO

    AUX

    3

    +6

    OO

    A UX

    +6

    OO

    AUX

    3

    3

    +6

    OO

    POS T
    PRE
    AUX

    5

    +6

    OO

    +6

    OO

    AUX

    6

    +6

    OO

    +6

    4

    P OST
    P RE

    5

    AUX

    6

    POST
    PRE

    6

    +6

    OO

    POST
    PRE

    =

    +6

    OO

    P OST
    P RE

    =

    PAN

    OO

    AUX

    +6

    OO

    AUX

    +6

    OO

    AUX

    +6

    OO

    +6

    4

    POST
    PRE

    5

    +6

    OO

    6

    POS T
    PRE
    =

    PAN

    OO

    AUX

    +6

    AUX

    5

    A UX

    +6

    OO

    OO

    POST
    PRE
    A UX

    +6

    OO

    6

    +6

    4

    +6

    OO

    POS T
    PRE

    5

    AUX

    +6

    POST
    PRE
    =

    OO

    AUX

    4

    +6

    OO

    AUX

    +6

    OO

    POS T
    PRE

    =

    P AN

    =

    PAN

    PAN

    R
    EVEN

    R
    EVEN

    L
    ODD

    R
    EV EN

    L
    ODD

    R
    EVEN

    L
    ODD

    R
    EVEN

    L
    ODD

    R
    EVEN

    L
    ODD

    MUTE

    MUTE

    MUTE

    MUTE

    MUTE

    MUTE

    PFL

    PFL

    PFL

    PFL

    PFL

    PFL

    PFL

    10

    10

    5
    L-R

    1-2

    5

    10

    5
    L-R

    0

    5

    3-4
    10

    10

    20

    30

    00

    0

    1-2

    5

    3-4
    10

    20

    30

    00

    5
    L-R

    0

    1-2

    5

    3-4
    10

    20

    30

    00

    10

    5
    L-R

    0

    1-2

    5

    3-4
    10

    20

    30

    00

    10

    5
    L-R

    0

    1-2

    5

    3-4
    10

    20

    30

    10

    5
    L-R

    0

    1-2

    5

    3-4
    10

    20

    10

    5
    L-R

    0

    1-2

    5

    3-4
    10

    00

    M

    R
    EVEN

    L
    ODD

    MUTE

    30

    00

    R

    R
    EVEN

    L
    ODD

    PFL

    20

    30

    00

    L

    +15

    - 15

    1

    AUX

    6

    -15
    1k
    6k

    70

    400
    1k

    - 15

    AUX

    40
    50

    -14

    HF
    1 2k

    180 +15
    25 0

    3 5Hz

    LF

    30

    20

    GA IN

    10 0Hz

    3k + 15
    4k

    500Hz

    MUTE

    0

    1-2

    5

    20

    30

    00

    4

    - 15
    70
    45

    LM

    +6

    A UX

    +6

    OO

    4

    POST
    PRE

    OO

    6

    PAN

    5
    L-R

    10

    20

    30

    00

    3

    +6

    OO

    AUX

    +6

    OO

    5

    P OST
    P RE
    =

    10

    10

    10

    20

    30

    00

    2

    10

    20

    30

    00

    1

    10

    20

    30

    00

    60 40

    HP F

    -15
    1k
    700

    HM

    80 Hz
    + 15

    EQ IN

    OO

    2

    3

    +6

    OO

    4

    AUX

    +6

    OO

    P AN

    AFL

    10

    5

    10

    20

    + 15

    -15

    1

    A UX

    AUX

    3

    AUX

    6

    POST
    PRE

    3-4
    10

    1k

    -15

    A UX

    6

    12k

    6k
    15k

    MUTE
    L
    ODD

    AFL

    +6

    OO

    AUX

    +6

    OO

    AUX

    +6

    OO

    =

    AFL

    35Hz

    LF
    80Hz

    +6

    OO

    2

    LINE

    (P AD)

    50

    -14

    HF

    3k +15
    4k

    5 00Hz

    POLARITY

    0

    40

    GAIN

    100Hz

    400

    45

    LM

    +15

    EQ IN

    1

    AUX

    P OST
    P RE

    5

    +6

    OO

    AUX

    PK!
    +6
    0
    SIG

    PA N
    MUTE

    +15

    -15

    AUX

    AUX

    +6

    OO

    AUX

    5

    P K!
    +6
    0
    S IG

    +6

    4

    AUX

    6

    PK !
    +6
    0
    SI G

    OO

    AUX

    +6

    OO

    POST
    PRE

    LI STEN WEDGE

    M SOURC E

    R

    PK !
    +6
    0
    SI G

    MUTE

    1k

    -15

    80Hz

    +6

    60 40

    HPF

    -15
    1k
    700

    HM

    180 + 15
    250

    70

    400

    35Hz

    LF

    -15

    180 +15
    250

    45

    LM

    +15

    EQ IN

    OO

    2

    3

    +6

    4

    MODE
    FOH
    MONITOR

    L

    PK!
    +6
    0
    SIG

    +15

    -15

    1

    AUX

    AUX

    3

    + 10

    REV

    =

    P AN

    MONO (L+R)
    AUX 6
    (A UX FED SUB)
    R

    MUTE

    1k

    -15

    AUX

    6

    12k

    6k
    15k

    +48V

    LI NE

    (P AD)
    0
    30
    20

    40
    50

    -14

    HF

    3k +15
    4k

    500 Hz

    AFL

    REV

    GRP4
    TO LR

    =

    PAN

    L

    PK!
    +6
    0
    S IG

    MUTE

    -15
    70

    40 0

    35Hz

    LF
    80Hz

    +6

    30

    GAIN

    100Hz

    -15
    1k
    700

    HM

    +48V

    (PAD)

    50
    60 40

    HPF

    12k

    6k
    15k

    POLA RITY

    LINE
    0
    20

    40

    - 14 6

    HF

    3k +15
    4k

    500Hz

    1 80 +15
    250

    45

    LM

    +15

    EQ IN

    OO

    2

    OO

    OO

    A FL

    REV

    GRP3
    TO LR

    GRP2
    TO LR
    =

    PAN

    R

    +15

    -15

    1

    AUX

    OO

    REV

    GRP 1
    TO LR

    1k

    -15

    AUX

    30

    GAIN

    100Hz

    -15
    1k
    700

    HM

    0

    6

    AUX
    REV

    =

    L

    -15
    70

    400

    35Hz

    LF

    +6

    60 40

    HPF

    12k

    180 +15
    2 50

    45

    LM

    80 Hz
    +15

    1

    2

    AUX

    0

    5

    AUX
    OO

    P AN

    P K!
    +6
    0
    SI G

    -15
    70

    400

    35 Hz

    AUX

    10

    L-R
    2TRK

    AUX

    6

    HF

    6k
    15k

    POLARITY

    (PAD)

    0
    20

    40
    50

    -14

    1 00Hz

    3k + 15
    4k

    500Hz

    +48V

    LINE

    (PAD)

    30

    20

    GA IN

    HP F

    -15
    1k
    700

    HM

    P OLARITY

    LINE

    60 40

    6

    12k

    6k
    15k

    +48V

    POLARITY

    0

    40
    50

    -14

    HF

    180 +15
    250

    70
    45

    80Hz
    -15

    0

    TA LK

    OO

    0

    3

    30

    20

    GAIN

    100Hz

    3k + 15
    4k

    500Hz

    +48V

    LINE

    (P AD)

    60 40

    HPF

    -15
    1k
    700

    HM

    EQ IN

    AFL

    MTX4

    AUX

    0

    2

    6

    12k

    15k

    AUX
    AUX

    0

    1

    +48V

    0

    40
    50

    -14

    HF

    6k

    50 0Hz

    LF

    PO WER

    MONITOR

    AUX
    5-6

    MUTE

    AFL

    MTX3

    LM

    PFL
    AFL

    AUX
    3-4
    +6

    OO

    MTX2

    AUX

    30

    GAIN

    100Hz

    HM

    +16
    +9
    +6
    +3
    0
    -3
    -6
    -9
    -12
    -16
    -20
    -30

    SELECT

    L
    +6

    OO

    R
    +6

    OO

    LEVEL

    +6

    MUTE

    AFL

    60 40

    HPF

    3k +15
    4k

    1k
    700

    R

    POLA RITY

    (PA D)
    0
    20

    40

    6

    -15

    2TRK
    TO LR

    L

    L-R
    +6

    OO

    R
    +6

    OO

    OO

    MTX1

    30

    50

    -14

    HF
    12k

    + 10

    OO

    ON

    4

    L

    L
    +6

    OO

    R

    LEVEL

    0
    20

    GAIN

    2TRK REPLA Y

    MAX

    1kHz
    PINK

    GRP

    4

    MAX

    MI N

    3

    GRP

    4

    OSC/NOISE

    2

    GRP

    3

    GRP

    4

    GRP

    2

    GRP

    GRP

    3

    GRP

    PHONES

    1

    GRP

    2

    GRP

    LINE

    (PA D)

    OO

    GRP

    1

    MI N

    GRP

    POLARITY

    LINE
    MIC

    TA LK BACK
    OO

    OO

    GRP

    20

    30

    00

    30

    00

    00

    17

    18

    19

    20

    21

    22

    23

    24

    25

    26

    27

    28

    29

    30

    31

    32

    Zero the console

    Before starting the sound check it is good
    practice to ‘zero’ the console by setting all its controls to a sensible
    starting condition. Set all GAIN, EQ and PAN controls mid, FADER,
    AUX and MATRIX controls off, TALKBACK and OSC/NOISE levels off,
    and all switches up. Make sure the osc/noise generator is turned off.
    Cue Sheets are provided at the rear of this user guide for you to copy
    and log your control settings. These can also be downloaded from
    our web site.

    Turning the system on and off It is good practice to:
    Think before you hit
    the switch!



    Turn the amplifiers on last and off first.



    Mute channels before plugging cables,
    instruments and switching phantom power.



    Let equipment which has been stored in a damp or cold
    place acclimatise in the venue first before powering it up.



    Power up the system in plenty of time before you start the
    sound check or show.

    unplugging

    Sound levels

    The ear is a delicate instrument. Do not subject
    yourself or any listener to long periods of loud sound, particularly with
    extreme equalisation. This may result in frequency selective or full
    range hearing loss. Adhere to the sound level regulations which may
    apply to the venue… and common sense!

    26

    GL2400 User Guide



  • Page 27

    Dual Functionality Now an industry standard, Allen & Heath pioneered this
    feature with the introduction of the first GL consoles in the ‘90s. In the past it was
    necessary to stock two different types of live sound console, one for mixing FOH
    (front-of-house), the other designed for mixing on-stage monitors. With the
    introduction of a few clever ‘mode’ switches we changed all that. Now, the same
    console can be quickly configured to carry out either task properly and without
    compromise.
    The GL2400 takes dual functionality a thoughtful stage further with the advent
    of new engineering practices such as multi-media and IEM (in-ear monitor)
    mixing, and computer based live multi-track recording. The key principles of
    dual functionality are:


    The same console can be quickly configured by the operator for proper FOH
    or stage monitor mixing, or as a combination of both for mixing monitors
    from FOH. In either mode, no part of the console is redundant. Every
    control and socket can be used for an associated function.

    Protected



    To prevent accidental operation during the show, the configuration mode
    switches are safely recessed under the panel.

    Aux Reverse



    In FOH mode the groups and LR are the main outputs while in Monitor
    mode the aux mixes become the main outputs.



    The REV switch swaps the group or L, R master controls with the related aux
    master so that you have full fader control of the appropriate main output
    complete with mute, AFL and LED bar meter.



    In Monitor mode the aux outputs are routed to the console main XLR
    sockets for electronically balanced drive, with inserts for patching in
    processors such as graphic EQ, limiters and delays.



    Channel pre/post switches and link options are important. In Monitor mode
    it must be possible to switch all auxes post for channel fader mastering. For
    Monitors from FOH, the pre-insert, pre-EQ or post-EQ option is needed.



    In Monitor mode the groups continue to feed the sub grouping to LR so that
    you can still work with grouped level control to the main mix.



    In Monitor mode the groups and LR continue to feed the matrix so that you
    can create independent mixes in addition to the auxes for special feeds,
    recording, and further mono or stereo in-ear monitors.



    In Monitor mode the M output becomes the engineer’s ‘listen wedge’ feed
    providing the PFL/AFL mix. It gives the engineer identical fader control and
    XLR drive for all wedges including their own.



    In both modes assignable talkback is provided.



    The matrix has a useful application in both modes. External ambience
    sources can be mixed in to the matrix to create live recording and in-ear
    monitor mixes.

    FOH / Monitor

    Master Control

    XLR + Inserts

    Pre/Post

    Sub Grouping

    Matrix Feed

    Listen Wedge

    Talkback

    Ambience

    FOH

    GL2400 User Guide

    Monitor

    Recording

    LR + M

    10 Monitors

    Stereo / Mono

    Aux-fed Subs

    6 Aux (wedge)

    2-Track

    Aux-fed C

    4 Matrix (IEM)

    4 Groups

    4 Groups

    Engineer’s Wedge

    4 Matrix

    6 Auxes

    Ambience

    Direct Outputs

    4 Matrix

    Talkback

    Ambience

    27



  • Page 28

    Applications for the Matrix
    EXT
    IN

    EXT
    IN

    OO

    +6

    GRP

    EXT
    IN

    OO

    +6

    GRP

    1

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    OO

    +6

    GRP

    OO

    +6

    L

    OO

    +6

    OO

    +6

    LEVEL

    OO

    OO

    +6

    +6

    AFL

    OO

    +6

    AFL

    OO

    +6

    OO

    +6

    OO

    +6

    L

    OO

    +6

    R

    OO

    +6

    LEVEL

    MUTE

    +6

    4

    +6

    R

    OO

    OO

    GRP

    OO

    +6

    LEVEL

    MUTE

    +6

    L

    R

    +6

    3

    OO

    +6

    OO

    GRP

    4

    L

    R

    +6

    GRP

    OO

    +6

    2

    OO

    +6

    OO

    GRP

    3

    4

    OO

    +6

    GRP

    GRP

    4

    OO

    +6

    3

    +6

    1

    2

    GRP

    3

    OO

    GRP

    GRP

    2

    GRP

    +6

    1

    GRP

    2

    OO

    GRP

    1

    GRP

    EXT
    IN

    OO

    LEVEL

    +6

    MUTE

    AFL

    OO

    +6

    MUTE

    AFL

    The matrix is a ‘mixer within a
    mixer’, a versatile toolbox of outputs you can use to satisfy a host of
    applications. Each of the 4 outputs is mixed from any combination of
    the groups, L, R and an external input as dialled up on the 7 source
    rotaries (hence a ‘7x4’ matrix). Its master level can be adjusted
    independently. Using combinations of the outputs you can create
    mono, stereo or multiple output mixes. Some applications include:
    Mono Recording
    If you are working with a stereo PA you can
    combine L and R into a matrix output to produce a mono mix feeding
    a recorder, video camera and so on. Raise the L and R rotaries to the
    2 o’clock position to sum them together. You can use the built-in
    1kHz tone generator to feed a line-up tone to the connected recorder.
    Stereo Recording Raise L to the unity 3 o’clock position in one
    matrix, R in another to create a stereo pair that follows the LR mix.
    You can adjust the balance to compensate for the acoustic sound in
    the room using the groups, and even add audience ambience
    (described later).
    Remote Broadcast
    Create a mono or stereo feed as described
    above. Use the tone generator to send a ‘slate’ signal to the
    destination for line-up. You can check your level in the headphones
    before you send it by muting the matrix and selecting AFL.
    Zone Feeds Send independent relay feeds to additional locations
    such as the foyer, dressing rooms, cry room, balcony and so on. You
    can use the groups to adjust the balance to suit the destination, for
    example to boost the orchestra against the vocals. Feed the output
    through an EQ to tune the speaker for the local acoustics.
    Delay Fill Speakers Use the matrix to feed additional fill speakers for
    distributing the sound more evenly around a large venue, for example
    centre fill, stage front fills, under balcony or rear fills, or ‘mix island’
    delay tower at a festival. To aid intelligibility for the nearby listeners
    without moving their focus from the stage, the send should be delayed
    using an in-line delay processor. As a rule of thumb, delay 1mS per
    foot difference between the listener and the fill and the listener and the
    main speakers. Now add a few milliseconds ‘Haas effect’ delay so the
    listener hears the main speakers slightly before the fill. Keep the fill
    level about 10dB or so below the main PA sound at that location. It
    may help intelligibility to boost the vocals above the instruments in the
    fills, and to use an EQ to cut the extreme LF and HF frequencies.
    Hearing Assist It is a growing requirement that venues provide a
    hard-of-hearing inductive loop, IR or wireless broadcast for the hearing
    impaired audience. The matrix is ideal for this application as you can
    combine a stereo LR mix into mono, add groups to help vocal
    intelligibility, patch in an external ambience source, and add
    processing such as EQ and limiters which may be needed.
    Additional Monitor Mixes You could use the matrix to create some
    additional monitor mixes when you run out of auxes, this time made
    up from a mix of the groups, LR and external input. The LR could be
    used to create a general overall balance, and then the groups added
    according to musician preference. Groups could be routed from 'me
    only' channels associated with each musician, or traditionally grouped
    sources. The musician could get a balance from, say, the overall
    stereo mix, drums, brass, keyboards, ‘me only’ and ambience, a very
    quick way of mixing. You could also use the EXT IN to add ambience
    pickup, very useful if you are creating in-ear (IEM) mixes. Use two
    matrices to create stereo monitor feeds.
    Combining Two Consoles into a Single PA In a festival situation
    you may have a support band wishing to patch in their own console.
    One way to do this is to feed the PA from a pair of matrices, and then
    use EXT Inputs to combine the external console with the main LR mix.

    28

    GL2400 User Guide



  • Page 29

    Create IEM Mixes with Ambience

    MONITOR
    R
    OUT

    L

    MATRIX

    MATRIX EXT IN
    IN1
    IN2
    IN3
    IN4

    LAMP

    MIC OUT
    16

    (BREAKPOINT)

    ST4

    EXT
    IN
    4

    EXT
    IN
    3

    EXT
    IN
    2

    EXT
    IN
    1

    MTX
    4

    MTX
    3

    MTX
    2

    MTX
    1

    INSERT
    R

    INSERT
    L

    INSERT
    4

    INSERT
    3

    INSERT
    2

    INSERT
    1

    AUX
    6

    AUX
    5

    AUX
    4

    AUX
    3

    AUX
    2

    AUX
    1

    MIC OUT
    15

    ST3

    ST2

    L/M

    L/M

    L/M

    R

    R

    R

    R

    MIC IN

    16

    MIC IN

    15

    GRP/AUX REVERSE
    R

    L
    AUX 5

    GRP 4

    GRP 3
    AUX 4

    GRP 2

    GRP 1

    AUX 3

    AUX 2

    ST1

    L/M

    AUX 1

    In Monitor mode the
    matrix continues to be fed with the 4 groups, L and R mixes. You can
    use these to create additional, independent monitor mixes. Together
    with the auxes these give you as many as 10 mixes. Create mono or
    stereo in-ear monitor feeds using single or paired matrices, for
    example MTX1-2 and 3-4. You could use LR to start with a basic
    stereo mix, then add up to four instrument or ‘more me’ groups. Add
    ambience using a pair of jack leads to patch the stereo channel MIC
    Outputs 15 and 16 into matrix EXT IN 1 and 2. With nothing plugged
    into EXT IN 3 and 4 the two mic signals are automatically linked
    across making the same stereo ambience available to both IEM mixes.
    Alternatively you could use an outboard reverb effects processor fed
    from a post-fade aux send to create the ambience. Use the channel
    faders and pan to create the basic stereo mix. Remember to set the
    other monitor aux sends to pre-fade.

    Using the Matrix to create a Recording The band may be
    acoustically loud in the room, and you need only mix vocals and some
    of the instruments into the PA to get good clarity and overall balance
    for the listeners. If you recorded the console main output you would
    be disappointed when you got home and listened to the result. For
    example, there may be strong voices, acoustic guitar and flute, but the
    drums, bass and electric guitar may be low. This is because you did
    not need much of these backline instruments in the PA mix. However,
    if you use the matrix to feed the recording you could start with the
    main LR (PA) mix, then turn up the drum and guitar groups to
    compensate for the lack of these in the house system. You could also
    add in ambience as described above to give the recording more life
    by including audience reaction and natural reverberation.
    Recording with the GL2400

    AUX

    1

    OO

    +6

    OO

    +6

    OO

    +6

    OO

    +6

    AUX

    2

    The console is equally at
    home recording live or in the project studio. The studio grade
    preamps produce an accurate and noise-free recording. Create a
    stereo recording from the main LR output, or from a pair of matrices as
    described above if recording and mixing live at the same time. To
    record to multitrack use whichever combination of groups, matrix,
    auxes and channel direct outputs is most convenient. The direct
    outputs are set pre-insert, pre-EQ as factory default. This setting
    means that the recording is not affected by your live fader and EQ
    changes. Note that you can swap internal jumpers to change this to
    post-EQ, and post-fade if you prefer. Post-EQ lets you use the EQ for
    source correction to affect both live sound and recording. Remember
    to use some ambience microphones to record the audience and
    venue atmosphere too.

    AUX

    3

    AUX

    4

    POST
    PRE
    AUX

    5

    OO

    +6

    OO

    +6

    AUX

    6

    POST
    PRE

    GL2400 User Guide

    Pre/post Fade Aux Settings The aux sends are switched pre
    or post fader using two PRE switches on every channel. One switch
    affects auxes 1-4, the other auxes 5 and 6. It is usual to set auxes prefade if you are mixing monitors from FOH. Set post-fade for auxes
    used as effects sends, zone feeds, aux-fed subs and so on. If you are
    using the console to mix monitors only then the auxes are typically set
    post-fade so that the channel fader becomes the source master to all
    monitors. In this case start with all channel faders set to ‘0’.
    There are times when you may want some monitor sends set postfade while most are set pre-fade, for example mixing monitors with
    radio mics and cued sound effects. Here, it may be better for the
    radio mics to follow your fader movements so avoiding off-stage chat
    or noise in the monitors. For this reason we believe it is important
    that channel rather than global mix pre/post switching is provided.

    29



  • Page 30

    Aux-Fed Subs

    Driving the PA system sub bass speakers with
    their own mix has two main advantages. First, the mix is much cleaner
    because only sources that generate the low frequencies, for example
    kick drum, bass guitar and keyboards, are sent to the subs. Low
    frequency bleed from these sources into open microphones such as
    vocals and snare is eliminated from the PA much more effectively than
    using just the channel filters. Second, the sub bass amplifier is only
    working with the sources needed. It is not wasting power reproducing
    unnecessary pickup.

    TOP

    TOP

    STEREO CROSSOVER

    MONO CROSSOVER

    SUB

    SUB

    LR

    M
    AUX6 MODE

    AUX 6 (POST-FADE)

    The sub can be separately driven in several ways, for
    example using a group, a mono or ‘C’ bus, or using an aux.
    Using an aux send has become a popular method on the
    smaller consoles. Simply feed the LR to a stereo crossover
    to drive the top speakers, and a post-fade aux send to a
    mono crossover to drive the sub speakers. Refer to the
    speaker manufacturer for recommended crossover
    frequency, usually within the range 80Hz to 120Hz. Align the
    system so that the normal unity gain position of the channel
    fader and aux send result in the correct speaker balance.
    For sources you wish to send to the sub, turn up the channel
    aux send to its unity 3 o’clock position. Avoid the temptation
    to ride the aux send to create more or less sub as this may
    upset the natural speaker balance or cause problems for
    listeners in different parts of the room.
    One problem with using the aux in this way is that it
    becomes difficult to balance the top and sub speakers if you
    need to adjust the overall volume of the PA. Typically the LR
    (tops) use fader masters, and the aux is on a rotary master.
    The GL2400 overcomes this with an innovative mode
    switch above the master faders that routes the AUX6 mix
    master through the M fader and on to the XLR output. This
    switch is recessed for protection against accidental
    operation. The result is you get three master faders aligned
    for simultaneous control, individual mutes, AFL and meters,
    and three properly balanced XLR outputs. Note that the
    AUX6 rotary master does not affect this sub feed. It does
    however independently affect the AUX6 jack output. This
    gives you a further advantage that another sub can be
    separately controlled using the rotary master, for example to
    supplement the stage monitor mix.

    GL2400

    Creating a separate C mix
    L

    C

    R

    OUT

    30

    M

    As with the aux-fed sub mix
    described above, you can set the mode switch to create an
    independent mix feeding a dedicated centre or mono speaker. The
    channel AUX6 sends become the routing to this mix while the M fader
    with XLR output becomes the master, correctly aligned with the L and
    R faders. Set the channel aux sends to unity 3 o’clock position, and
    release the LR routing switches if you do not want the signal in the LR
    speakers as well. The GL2400 gives you the choice of either
    mixing the sum of L and R to the M output (mode switch up), or an
    independent AUX6 mix to M (mode switch pressed).

    Other M Output Applications Apart from the aux-fed subs
    and C mix described above, other examples include L+R sum mono
    fill, additional mono zone feed, mono recording, mono PA with LR
    providing two subgroups to M or a stereo recording… and more.

    GL2400 User Guide



  • Page 31

    Using the channel Direct Outputs Default factory setting is
    pre-insert, pre-EQ, pre-fade so that your live fader mixing, effects and
    EQ do not affect the recording. Change this to post-EQ using internal
    jumpers if you prefer to use the EQ for source correction affecting the
    recording too. You could also patch DIR OUT into a matrix EXT IN to
    add a ‘more me’ channel into a monitor send created from the groups
    and LR. If preferred you can reconfigure the direct outputs to postfade by setting internal jumpers. Use post for feeding an effects
    processor with one source only, for example a dedicated reverb on
    lead vocals, or to add more of one source into a matrix fed recording.

    DIRECT
    OUT
    24

    MIC OUT
    16

    MIC OUT
    15

    (BREAKPOINT)

    ST4

    ST3

    ST2

    ST1

    L/M

    L/M

    L/M

    L/M

    R

    R

    R

    R

    MIC IN

    Standard Mono Microphone Channels Mono mic input through the
    channel with 4band EQ, auxes and full routing. Press the mode
    switches to re-route the stereo inputs direct to LR for simple effects
    returns and source inputs.

    MIC IN

    16

    15

    +48V
    MIC 20

    30

    40

    GAIN

    50
    6

    ST1 -5

    +48V
    MIC 20

    50

    ST3 -5

    5

    -20

    10

    STEREO

    0
    5

    -10

    16

    OO

    -20

    10
    16

    OO

    STEREO

    CH15

    CH16

    LR

    ST2 -5

    LR

    0

    ST4 -5

    5

    -10
    -20
    OO

    16
    CH15

    LR

    5

    -20

    10
    OO

    STEREO

    True Stereo Microphone Channel
    For example, use short jack
    leads to patch both channel 15 and 16 MIC OUT breakpoints into ST2
    stereo line input. Set ST2 level control to its mid ‘0dB’ position to feed
    the channel. Adjust the gain and balance between the left and right
    microphones using the two mic GAIN controls. Route ST1 to LR as a
    simple effects return or source input. The other channel can be used
    as a dual stereo input fed from ST3/4, or as a single ST4 input with
    ST3 routed independently to LR.
    Mixing Two Microphones through One Channel
    As above but
    patch CH15 MIC OUT into ST1 L/M, and channel 16 MIC OUT into ST2
    L/M. Set ST1 and 2 levels to mid ‘0dB’ position. This mixes the two
    mics together in mono, for example when using one channel for two
    choir microphones. CH16 is available for stereo line sources.

    0

    -10
    10

    STEREO

    40

    60

    6

    0

    -10

    30

    GAIN

    60

    Using the Stereo Channels Stereo channels 15 and 16
    present a unique flexibility. Each provides a microphone input and
    two stereo inputs, a total of five connections which can feed the
    channel or be routed elsewhere. The mic preamp has a TRS jack MIC
    OUT breakpoint so that its output can be used independently.
    Plugging into this socket breaks the signal path feeding the channel
    and routes it to the jack instead. Each stereo input has its own level
    control and can be routed either into the channel or directly to the LR
    mix. This is configured using a recessed mode switch which protects
    it from accidental operation during a show. With 2 mic and 4 stereo
    line inputs, channels 15 and 16 provide for a host of space saving
    applications:

    16
    CH16

    LR

    Patchable Microphone Preamplifier Disconnect the mic preamp
    from the channel and patch it elsewhere to be used independently.
    For example, plug in a room microphone and patch MIC OUT to a
    matrix EXT IN to add ambience to a recording or monitor feed, or use
    it as a preamplifier for a reference microphone with an RTA or other
    analysis equipment. You could even use it to provide a better mic
    source to a video camera or other recorder.
    Dual Stereo Line Inputs A trademark of Allen & Heath consoles is
    the ability to combine more than one source into the stereo channel,
    each with its own level control. This can save channel space when
    working with two similar sources routed to the same destination, for
    example, two stereo reverb returns, two backing track or sound effects
    players, or to alternate between walk-in music and recorded
    announcement players.

    Finally… A Note about Combining Signals You can use a
    ‘Y’ splitter cable or adapter to feed one output to two destinations, but
    never try to combine two outputs to one destination. This may
    damage or degrade the performance of the equipment driver stage.
    GL2400 User Guide

    31



  • Page 32

    Specifications
    Performance
    Maximum input level

    Mic
    CH Line
    Other Line

    +34dBu (inc pad)
    +34dBu
    +20dBu

    Maximum output level

    XLR
    Jack

    Internal headroom

    Channels
    Mix

    Meters
    Sensitivity
    Master meters
    Channel meters

    3 colour LED, quasi peak response
    0VU = +4dBu at XLR output
    12 segment
    -30 to +16dB
    4 segment
    -12,0,+6+16dB (5dB before clip)

    Frequency response

    20Hz to 50kHz

    Mic CMRR at 1kHz

    > 80dB typical

    THD+n at +14dBu 1kHz

    Channel to mix out < 0.003%

    Crosstalk at 1kHz

    Fader shutoff
    Mute shutoff
    Inter channel

    Noise, rms 22Hz to 22kHz

    Mic EIN -128dB
    Residual output noise
    < -96dBu (-100dB S/N)
    LR mix noise 16 routed
    < -86dBu (-90dB S/N)
    Group mix noise 16 routed < -86dBu (-90dB S/N)
    Aux mix noise 16 routed < -92dBu (-90dB S/N)
    Mix noise 16 line 0dB gain < -86dB S/N

    Channel HPF

    12dB/octave below 100Hz

    Mono EQ

    HF
    HM
    LM
    LF

    Shelving +/-15dB, 12kHz
    Peak/dip +/-15dB, 500Hz to 15kHz, Q=1.8
    Peak/dip +/-15dB, 35Hz to 1kHz, Q=1.8
    Shelving +/-15dB, 80Hz

    Stereo EQ

    HF
    HM
    LM
    LF

    Shelving +/-15dB, 12kHz
    Peak/dip +/-15dB, 2.5kHz, Q=1.8
    Peak/dip +/-15dB, 250Hz, Q=1.8
    Shelving +/-15dB, 80Hz

    Power supply (16-32 ch)

    Internal switched mode, auto sensing, IEC input
    External input for optional MPS12 backup supply

    Power supply (40 ch)

    External RPS11 linear, IEC input
    Console Input for second RPS11 as backup supply

    +26dBu
    +20dBu
    +20dB
    +22dB

    +/-0.5dB

    >90dB
    >90dB
    >90dB

    Mechanical
    16

    32

    24

    32

    40

    Width
    Depth
    Height

    609mm (24”)
    560mm (22”)
    150mm (5.9”)

    817mm (32.2”)

    1025mm (40.4”) 1233mm (48.5”)

    Weight

    16.5kg(36.3lbs)

    21.5kg(47.3lbs)

    26.5kg(58.3lbs)

    32kg(70.5lbs)

    GL2400 User Guide



  • Page 33

    Connections
    Mono channel

    XLR balanced pin 2 hot
    TRS balanced, tip hot
    Pad out (MIC)
    Pad in (MIC or LINE)
    Max input level
    XLR phantom power

    Sensitivity -60 to +14dBu
    Sensitivity -40 to +14dBu
    2k ohm
    >10k ohm, -20dB attenuation
    +34dBu
    +48V, on/off

    Stereo channel

    ST1,3 TRS unbalanced
    ST2,4 TRS balanced

    >10k ohm, -16 to +20dBu
    >10k ohm, -16 to +20dBu

    Talkback mic

    XLR balanced pin 2 hot
    Phantom power

    Sensitivity -50 to -10dBu
    Internal jumper +48V

    2-track return

    TRS unbalanced

    >4k ohm, -2dBu

    2-track send

    TRS impedance balanced <75 ohm, -2dBu

    Inserts

    Channel
    Output

    L, R, M outputs

    XLR balanced pin 2 hot

    <75 ohm, +4dBu, +26dBu max

    Group (aux) out

    XLR balanced pin 2 hot

    <75 ohm, +4dBu, +26dBu max

    Aux 1-6 output

    TRS impedance balanced <75 ohm, -2dBu, +20dBu max
    Electronic balance option <75 ohm, +4dBu, +26dBu max

    Direct out

    TRS impedance balanced <75 ohm, 0dBu, +20dBu max

    Matrix out

    TRS impedance balanced <75 ohm, -2dBu, +20dBu max
    Electronic balance option <75 ohm, +4dBu, +26dBu max

    Headphones

    TRS, tip L, ring R, 30 to 600 ohm headphones recommended

    Monitor output

    TRS impedance balanced <75 ohm, -2dBu, +20dBu max

    Lamp

    4-pin XLR

    TRS, tip send, ring return, 0dBu
    TRS, tip send, ring return, -2dBu

    max 12V 5W lamp

    GL2400 Series Part Numbers
    14 mic/line, 2 mic/dual stereo, 4 group console
    22 mic/line, 2 mic/dual stereo, 4 group console
    30 line, 2 mic/dual stereo, 4 group console
    38 line, 2 mic/dual stereo, 4 group console

    GL2400-16/v
    GL2400-24/v
    GL2400-32/v
    GL2400-40/v

    Sys-Link V2 input/output option kit

    GL2400-SLV2

    SSM2142P balanced output driver option IC
    AE0302
    DRV134 balanced output driver option IC (alternative to above) AE5725

    GL2400 User Guide

    Backup power supply option for the 16, 24 and 32 models
    Backup power supply option (for the 40 channel model

    MPS12/v
    RPS11/v

    Allen & Heath 18” gooseneck LED lamp – right angled

    LEDLAMP-X

    33



  • Page 34

    AUX 1-6
    GRP 1-4
    LR
    PFL

    GL2400

    SYS-LINK CONNECTION
    SL

    PHANTOM POWER
    4 BAND EQUALISER

    METER

    AFL
    PFL

    48V
    HF

    GRP/AUX REV

    GAIN
    MIC

    LINE/PAD POL
    -20dB

    2= +

    BALANCED

    HM

    HPF

    +
    -

    PAN

    L-R
    1-2

    LM

    TIP= +

    FADER

    TIP= +

    GROUPS / AUX 1-4

    3-4

    LF

    TIP= SEND

    0dBu

    AUX OUT

    +10dB boost

    AUX MIX

    LINE
    INSERT

    AUX

    SL

    MUTE

    EQ IN

    +4dBu BAL OPTION

    IMPEDANCE BALANCED
    -2dBu

    METER
    FADER
    POST-EQ

    RING= RETURN

    PRE-INSERT, PRE-EQ

    SL

    A

    INSERT

    PRE

    PRE

    AFL

    +10dB boost

    GRP MIX

    B

    GROUP OUT

    BAL

    MUTE

    -2dBu

    2=+
    +4dBu

    MIC/MONO INPUTS
    0dBu

    JUMPER F
    P

    PRE-FADE C

    TIP= +

    DIRECT OUT

    POST-FADE D

    RING= -

    IMPEDANCE BALANCED

    AUX

    E
    S

    1

    H
    P

    G
    S

    3

    2

    J
    A

    I L
    S A
    5

    4

    K
    S

    TO MATRIX

    PAN

    L-R

    6

    P = PRE-FADE
    S = SWITCHED
    A = POST-FADE

    AFL
    LR/AUX REV
    AUX

    SL

    METER

    48V

    AUX OUT

    +10dB boost

    AUX MIX

    TIP= +

    PHANTOM POWER
    GAIN
    2= +

    MIC OUT
    0dBu
    (break jack)

    +
    -

    HM

    TIP= +

    SUM +

    FADER

    MUTE

    EQ IN

    PAN

    CH

    POST-FADE
    M S

    +

    CN4

    +

    +
    -

    2=+
    +4dBu

    3-4

    CN5
    TO MATRIX, MONO, MONITOR, 2TRK
    IN1
    IN2
    IN3
    IN4

    PRE

    MATRIX EXT IN NORMALLING
    FOR COMMON MONO OR STEREO SOURCE

    MONO

    AFL disable in WEDGE mode

    GAIN

    MATRIX EXT IN

    CH

    INPUT ST2(4)

    JUMPER OPTIONS

    LR

    +
    -

    P = PRE-FADE
    S = SWITCHED
    A = POST-FADE

    B

    A

    D

    C

    F

    P

    S

    P

    S

    P

    AUX

    1

    E

    H

    S

    P

    3

    2

    G J
    S A
    4

    I

    L

    S A

    S

    5

    6

    SUM

    EXT IN

    FROM GRP,L,R

    METER
    AFL

    FROM L,R

    0dBu

    K

    AUX6
    FADER

    +

    R

    L(R) OUT

    BAL

    MUTE

    MONO/STEREO AUX

    LR

    PRE
    L/M

    INSERT

    1-2

    FADER

    PRE-FADE
    M S

    LF

    R

    SL

    L-R

    -2dBu

    LM

    INPUT ST1(3)

    IMPEDANCE BALANCED
    -2dBu

    AFL

    +10dB boost

    L(R) MIX

    +

    GAIN

    +4dBu BAL OPTION

    METER

    HF

    RING= -

    L/M

    PFL

    4 BAND EQUALISER

    MIC

    L(R) / AUX 5(6)

    FROM AUX6

    BAL

    MUTE

    +10dB boost

    M OUT
    2=+

    WEDGE MODE

    +4dBu

    GRP1

    MIC/STEREO INPUTS

    FROM PFL/AFL

    GRP2
    GRP3
    GRP4
    MATRIX MIX

    L
    1KHz OSC

    48V PHANTOM POWER
    OFF

    TALKBACK
    MIC IN
    2= +

    BALANCED

    LEVEL

    ON

    L-R

    PINK NOISE

    MATRIX 1-4

    AUX1-2

    GAIN
    PRESS TO TALK

    AUX3-4

    MATRIX OUT

    +10dB boost

    GRP1-4

    DIM

    ON

    R

    MUTE

    LEVEL

    AFL
    +4dBu BAL OPTION

    IMPEDANCE BALANCED
    -2dBu

    MONITOR
    MONITOR OUT

    AUX5-6

    L

    +
    2-TRACK
    SEND
    RETURN

    FROM L,R

    L/M
    L
    -2dBu
    R
    R

    PFL/AFL MIX
    SL
    PFL/AFL DC

    34

    MONITOR
    L
    R

    TIP= +

    GL2400 User Guide

    TO WEDGE MODE
    SL

    2TRK TO LR

    PFL/AFL

    R
    IMPEDANCE BALANCED

    LR/2-TRK

    PHONES OUT
    TIP = LEFT
    RING = RIGHT



  • Page 35

    User Options
    The GL2400 has a versatile architecture which should satisfy most
    applications you may encounter without modification. However, the following
    internal options provide alternative settings for those applications that may
    demand them. Access is required to the internal assemblies. For user
    convenience, pluggable jumper links are used in most places.

    Do not adjust the user options while power is applied to the console.
    Do not remove or tamper with the internal power unit, its cover or wiring.

    Remove the base Switch off power and unplug all the cables. Invert the
    console on a flat, clean, well lit surface. Use Torx (star head) screwdrivers to
    remove the screws holding the base to the chassis. Use a T10 driver to remove
    the two M3x12mm screws holding the base to the underside of the internal
    power unit. Use a T15 driver to remove the set of 6Bx5/16 screws holding the
    base to the rear and underside of the chassis. Carefully lift off the base.
    Configure the internal options Fit any options required referring to the
    instructions provided. Set the option jumpers to the required positions. Make
    sure they are pressed fully home. Check that all channels are correctly set and
    all options fitted according to their instructions. Make sure that no debris or parts
    are left loose inside the console.
    Refit the base Carefully reposition the base. Refit the fixing screws.
    IMPORTANT: Check carefully that all channel jumpers are correctly set
    as required. Errors on one or more channels now may cause user problems
    later. We recommend that you write the repositioned jumper settings on a label
    and adhere this to the rear panel. This would provide a helpful reference to other
    users of the console.

    AUX PRE/POST INSERT/EQ

    MASTER L

    STEREO INPUT
    C N6

    MONO INPUT

    GROUP
    AUX5
    BALANCE

    AUX STEREO/MONO

    MASTER R

    AUX6
    BALANCE
    U7

    AUX PRE/POST FADER
    TB MIC
    +48V
    U7

    AUX 1-4
    BALANCE

    GL2400 User Guide

    VR3

    MATRIX 1-4
    BALANCE
    U9

    DIRECT OUT PRE/POST FADER

    U7

    AUX PRE/POST FADER

    35



  • Page 36

    MONO CH - PRE-FADE AUX SENDS

    PREFADE SEL
    A=PRE EQ

    B A

    POST-EQ

    O/P
    D C DIR
    C=PRE

    PRE-INSERT, PRE-EQ

    Aux pre/post EQ Factory default for the mono
    channel pre-fade auxes is pre-insert, pre-EQ. This is
    popular with many users mixing monitors from FOH.
    It prevents the channel EQ and inserted
    compressors affecting the monitor mix. Move the
    jumper from A to B to change this to post-insert,
    post-EQ if preferred, for example when using
    corrective EQ affecting FOH and monitors. Note that
    auxes are always post-mute.

    MONO CH - DIRECT OUTPUT

    Direct output source
    PREFADE SEL
    A=PRE EQ

    B A

    O/P
    D C DIR
    C=PRE

    PRE-FADE
    POST-FADE

    AUX

    SW
    PO
    PO
    SW
    SW
    PR
    PR
    SW

    MONO CH - AUX PRE/POST FADER SETTINGS

    6

    5

    3-4

    1-2

    SW = PRE/POST SWITCH
    PR = PRE-FADE
    PO = POST-FADE
    STEREO CH - AUX PRE/POST FADER SETTINGS

    PO
    SW
    PO
    SW
    PR
    SW
    PR
    SW
    PR
    SW
    PR
    SW

    L K J I H G F E D C B A

    AUX

    6

    5

    4

    3

    2

    1

    STEREO CH - MONO/STEREO AUXES
    POST-FADE AUXES

    CN5

    MONO STEREO

    PRE-FADE AUXES

    CN4

    MONO STEREO

    L MASTER - TALKBACK +48V
    JP1

    JP2

    PHANTOM POWER
    GND +48V

    Factory default is prefader (as set for the pre-fade auxes). This is
    common for live recording to multitrack. The live mix
    fader movements do not affect the recording. Move
    the jumper from C to D to change to post-fade.
    Post-fade is appropriate when using the output as a
    direct channel effects send.

    Channel Aux pre/post settings

    Factory
    default is Aux 1-4 = switched, Aux 5-6 = switched
    pre/post fader. You can change these settings for
    different combinations of permanent or switched
    pre/post fade auxes by repositioning the links. Note
    that these are solder links on the mono channels.
    Refer to the system block diagram to explore the
    possibilities. Make sure you set all mono and stereo
    channels the same.
    To avoid possible future
    confusion when the console is used by other
    operators, we recommend you only change these
    settings if absolutely necessary.

    Stereo/Mono aux source

    The stereo
    channels feed the auxes with a mono sum of L+R.
    This can be changed so that L feeds the odd
    numbered auxes, and R the even. This may be
    preferred when using odd/even auxes as stereo
    pairs. Factory default is the mono setting.

    Talkback mic +48V Factory default is +48V
    phantom power turned on for the front panel
    talkback mic XLR input. The option jumper is behind
    the TB mic XLR on the L Master board. If you prefer,
    phantom power can be disabled by repositioning the
    jumper to the GND position.
    Note that phantom power should not harm nonpowered dynamic microphones as long as balanced
    connections are used.
    WARNING: Do not connect unbalanced
    sources or cables to inputs with phantom power
    selected. To avoid loud clicks do not press the
    TALK switch when plugging or unplugging the
    talkback microphone.

    36

    GL2400 User Guide



  • Page 37

    Output balance options The aux and matrix
    MASTER L

    GROUP

    MASTER R

    MATRIX 1-4
    BALANCE

    AUX 1-4
    BALANCE

    outputs are impedance balanced as standard
    operating at nominal -2dBu and with +20dBu
    maximum drive. They provide similar interference
    rejection to electronically balanced outputs when
    connected to balanced equipment inputs.
    An
    electronically balanced option is available if you
    require nominal +4dBu and higher output drive up
    to +26dBu over very long cable runs. However, it is
    not usually necessary to fit this option as the
    impedance
    balanced
    drive
    satisfies
    most
    applications. Check that you really need the option
    before fitting it.
    There are two balanced driver ICs which may be
    used. Either is suitable. These are available from
    Allen & Heath or good electronic component
    suppliers. The Allen & Heath part number is shown
    below:
    SSM2142P
    A&H Part AE0302
    DRV134
    A&H Part AE5725

    AUX5
    BALANCE

    AUX6
    BALANCE

    For each aux master, snip the legs of the two zero
    ohm resistor links next to the IC socket. This
    removes them from the circuit. Now simply plug the
    option IC into the socket. Observe the correct IC
    pin1 orientation and make sure its legs are correctly
    aligned with the socket. Test the output once the
    work is complete. You should measure the same
    level but opposite polarity signal between + (hot)
    and ground, and – (cold) and ground.

    SLAVE CONSOLE
    GL2400
    SYS-LINK V2 OUTPUT

    SYS-LINK V2 INPUT

    37WAY CABLE

    Sys-Link V2 input/output option

    A blank
    plate is fitted here as standard. This may be
    replaced with an optional card which provides the
    console inputs, outputs and PFL system on two
    37way D connectors for linking to other Allen &
    Heath consoles already fitted with Sys-Link V2. The
    GL2400 can become an input channel expander
    (slave) or have its number of input channels
    expanded (master) when linked to other consoles.
    A 37way shielded multi-core cable carries the
    balanced mix signals and PFL/AFL system to or from
    the other console.
    IMPORTANT: Note that you need a 37 to 25way
    adapter cable if you are connecting Sys-Link V2
    (Version 2) to the older Sys-Link V1 (Version 1)
    standard.

    MASTER CONSOLE
    SYS-LINK V2 OUTPUT

    SYS-LINK V2 INPUT

    GL2400 OR OTHER A&H CONSOLE

    GL2400 User Guide

    For full details please refer to the Sys-Link option
    Applications Note AP6050 and Fitting Instructions
    AP6049.

    37



  • Page 38

    Cue Sheet 1 of 3

    Master Section

    GL2400

    Copy and use this page to record your console settings.

    GL2400
    EXT
    IN

    EXT
    IN

    +6

    OO

    EXT
    IN

    +6

    OO

    GRP

    GRP

    1

    +6

    OO

    +6

    GRP

    2

    +6

    OO

    +6

    +6

    OO

    +6

    +6

    OO

    +6

    +6

    OO

    R

    +6

    L

    R

    +6

    OO

    +6

    R

    OO

    +6

    +16
    +9
    +6
    +3
    0
    -3
    -6
    -9
    -12
    -16
    -20
    -30

    SELECT
    L-R

    +6

    OO

    R

    OO

    L

    +6

    OO

    2TRK
    TO LR

    ON

    +6

    OO

    L

    GRP
    1-4

    R

    AUX
    1-2
    +6

    OO

    +6

    OO

    LEVEL

    +6

    OO

    +6

    OO

    LEVEL

    LEVEL

    +6

    OO

    MUTE

    LEVEL

    +6

    OO

    MUTE

    PFL
    AFL

    AUX
    3-4
    AUX
    5-6

    +6

    OO

    MUTE

    MUTE

    AUX

    AUX

    0

    1

    OO

    AFL

    AFL

    +10

    AUX

    0

    2

    0

    OO

    +10

    OO

    REV

    AUX

    AUX

    0

    5

    +10

    OO

    AFL

    REV

    L-R
    2TRK

    0

    4

    +10

    AFL

    AFL

    10

    AFL

    0

    3

    POWER

    MONITOR

    TALK
    AFL

    +10

    OO

    4

    OO

    L

    MAX

    1kHz
    PINK

    GRP

    4

    OO

    L

    +6

    GRP

    4

    2TRK REPLAY

    MIN

    3

    OO

    GRP

    4

    +6

    MAX

    OSC/NOISE

    GRP

    3

    OO

    GRP

    OO

    MIN

    +6

    OO

    3

    +6

    PHONES

    2

    GRP

    GRP

    3

    OO

    MIC

    GRP

    2

    OO

    GRP

    +6

    1

    +6

    OO

    GRP

    2

    TALKBACK
    OO

    GRP

    1

    OO

    GRP

    +6

    OO

    GRP

    1

    EXT
    IN

    OO

    AFL

    REV

    AUX

    0

    6

    +10

    OO

    REV

    +10

    AFL

    AFL

    REV

    REV

    MODE
    FOH
    MONITOR

    GRP1
    TO LR

    GRP3
    TO LR

    GRP2
    TO LR

    =

    =

    PAN

    GRP4
    TO LR

    =

    PAN

    LISTEN WEDGE

    =

    PAN

    M SOURCE

    PAN

    MONO (L+R)
    AUX 6
    (AUX FED SUB)
    L

    R

    L

    PK!
    +6
    0
    SIG

    R

    PK!
    +6
    0
    SIG

    R

    PK!
    +6
    0
    SIG

    MUTE

    PK!
    +6
    0
    SIG

    MUTE

    AFL

    GRP4

    AUX3

    PK!
    +6
    0
    SIG

    MUTE

    AFL

    GRP3

    AUX2

    PK!
    +6
    0
    SIG

    MUTE

    AFL

    GRP2

    AUX1

    R

    MUTE

    AFL

    GRP1

    L

    PK!
    +6
    0
    SIG

    MUTE

    AFL

    L

    AUX4

    AFL

    R

    AUX5

    AFL

    M

    AUX6

    10

    10

    10

    10

    10

    10

    10

    5

    5

    5

    5

    5

    5

    5

    0

    0

    0

    0

    0

    0

    0

    5

    5

    5

    5

    5

    5

    5

    10

    10

    10

    10

    10

    10

    10

    20

    20

    20

    20

    20

    20

    20

    30

    30

    30

    30

    30

    30

    30

    00

    00

    00

    00

    00

    00

    00

    1

    38

    L

    2

    3

    4

    L

    R

    LISTEN

    M

    GL2400 User Guide



  • Page 39

    Cue Sheet 2 of 3

    8 Mono

    GL2400

    Copy and use this page to record your console settings.

    +48V

    +48V

    +48V

    +48V

    +48V

    +48V

    +48V

    +48V

    POLARITY

    POLARITY

    POLARITY

    POLARITY

    POLARITY

    POLARITY

    POLARITY

    POLARITY

    LINE

    LINE

    (PAD)
    0

    30

    20

    GAIN

    50

    -14

    6

    60 40

    30

    20

    GAIN

    50

    -14

    6

    60 40

    500Hz

    -15

    15k

    180

    70

    -15

    +15

    -15

    +15

    6k

    500Hz

    -15

    80Hz

    15k

    180

    70

    400
    1k

    LF

    HM

    250

    35Hz

    LM

    -15

    +15

    -15

    +15

    LF

    +6

    AUX

    +6

    AUX

    5

    AUX

    AUX

    6

    +6

    OO

    PAN

    PAN

    L
    ODD

    PK!
    +6
    0
    SIG

    OO

    +6

    OO

    +6

    POST
    PRE

    5

    +6

    OO

    +6

    OO

    AUX

    6

    +6

    POST
    PRE
    AUX

    6

    +6

    OO

    +6

    OO

    POST
    PRE

    POST
    PRE

    =

    =

    PAN

    L
    ODD

    PAN

    L
    ODD

    R
    EVEN

    L
    ODD

    R
    EVEN

    R
    EVEN

    MUTE

    MUTE

    MUTE

    MUTE

    MUTE

    MUTE

    MUTE

    PFL

    PFL

    PFL

    PFL

    PFL

    PFL

    PFL

    PFL

    PK!
    +6
    0
    SIG

    10

    5

    0

    1-2

    +6

    MUTE

    10

    L-R

    +6

    POST
    PRE

    R
    EVEN

    OO

    4

    AUX

    PAN

    L
    ODD

    R
    EVEN

    +6

    AUX

    =

    PAN

    L
    ODD

    R
    EVEN

    +6

    5

    OO

    OO

    3

    OO

    +6

    POST
    PRE

    +15

    EQ IN

    AUX

    AUX

    =

    PAN

    L
    ODD

    R
    EVEN

    +6

    OO

    POST
    PRE
    =

    PAN

    L
    ODD

    R
    EVEN

    +6

    OO

    POST
    PRE
    =

    -15

    +6

    OO

    +6

    6

    +15

    2

    4

    AUX

    -15

    LF

    AUX

    AUX

    OO

    1k

    1

    OO

    +6

    5

    400

    35Hz

    +6

    OO

    POST
    PRE

    +6

    250

    AUX

    3

    OO

    LM

    EQ IN

    AUX

    OO

    +15

    45

    80Hz

    +6

    AUX

    6

    +15

    2

    OO

    +6

    AUX

    -15

    AUX

    4

    OO

    +15

    +6

    AUX

    5

    -15

    15k

    180

    70

    400

    1

    POST
    PRE

    +6

    -15

    250

    1k

    6k

    500Hz

    +15

    35Hz

    3k +15
    4k

    700

    HM

    AUX

    OO

    +6

    AUX

    180

    70

    LF

    -15

    15k

    EQ IN

    3

    OO

    500Hz

    45

    LM

    100Hz

    1k
    6k

    80Hz

    AUX

    POST
    PRE

    +6

    OO

    +15

    +6

    OO

    +6

    6

    -15

    2

    4

    AUX

    +15

    60 40

    HPF

    3k +15
    4k

    700

    -15

    AUX

    AUX

    OO

    -15

    LF

    6

    12k
    -15
    1k

    400
    1k

    50

    -14

    HF

    250

    35Hz

    +6

    OO

    +6

    5

    LM

    40

    GAIN

    100Hz

    +15

    1

    OO

    60 40

    30

    20

    HPF

    HM

    AUX

    3

    OO

    180

    45

    EQ IN

    AUX

    OO

    15k

    80Hz

    +6

    OO

    +6

    POST
    PRE

    +15

    2

    AUX

    =

    -15

    AUX

    POST
    PRE

    +6

    OO

    POST
    PRE
    =

    +15

    +6

    OO

    +6

    6

    -15

    LF

    -15
    70

    400
    1k

    6k

    500Hz

    250

    35Hz

    6

    12k

    +15

    1

    4

    AUX

    6

    LM

    50

    -14

    3k +15
    4k

    700

    HM

    AUX

    AUX

    OO

    180

    70
    45

    EQ IN

    +6

    5

    15k

    GAIN

    HF

    -15

    80Hz

    3

    OO

    +6

    OO

    +15

    AUX

    AUX

    5

    -15

    +6

    POST
    PRE

    +6

    OO

    +15

    2

    OO

    500Hz

    (PAD)
    0

    40

    100Hz

    1k
    6k

    -15

    AUX

    OO

    +6

    AUX

    -15

    LF

    60 40

    30

    20

    HPF

    3k +15
    4k

    700

    400
    1k

    6

    12k
    -15
    1k

    250

    35Hz

    +6

    4

    OO

    LM

    50

    HF

    +15

    1

    AUX

    POST
    PRE

    180

    70
    45

    GAIN
    -14

    LINE

    (PAD)
    0

    40

    100Hz

    HM

    AUX

    OO

    +6

    OO

    15k

    EQ IN

    3

    4

    500Hz

    80Hz

    AUX

    AUX

    OO

    +15

    +6

    OO

    +6

    OO

    -15

    2

    3

    4

    +15

    6k

    -15

    AUX

    AUX

    AUX

    -15

    LF

    60 40

    30

    20

    HPF

    3k +15
    4k

    700

    400
    1k

    6

    12k
    -15
    1k

    250

    35Hz

    +6

    OO

    +6

    OO

    3

    LM

    50

    HF

    +15

    1

    2

    AUX

    180

    70
    45

    GAIN
    -14

    LINE

    (PAD)
    0

    40

    100Hz

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    GL2400 User Guide

    39



  • Page 40

    Cue Sheet 3 of 3

    6 Mono, 2 Stereo

    GL2400

    Copy and use this page to record your console settings.

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    GL2400 User Guide






Missbrauch melden von Frage und/oder Antwort

Libble nimmt den Missbrauch seiner Dienste sehr ernst. Wir setzen uns dafür ein, derartige Missbrauchsfälle gemäß den Gesetzen Ihres Heimatlandes zu behandeln. Wenn Sie eine Meldung übermitteln, überprüfen wir Ihre Informationen und ergreifen entsprechende Maßnahmen. Wir melden uns nur dann wieder bei Ihnen, wenn wir weitere Einzelheiten wissen müssen oder weitere Informationen für Sie haben.

Art des Missbrauchs:

Zum Beispiel antisemitische Inhalte, rassistische Inhalte oder Material, das zu einer Gewalttat führen könnte.

Beispielsweise eine Kreditkartennummer, persönliche Identifikationsnummer oder unveröffentlichte Privatadresse. Beachten Sie, dass E-Mail-Adressen und der vollständige Name nicht als private Informationen angesehen werden.

Forenregeln

Um zu sinnvolle Fragen zu kommen halten Sie sich bitte an folgende Spielregeln:

Neu registrieren

Registrieren auf E - Mails für Allen-Heath GL 2400 wenn:


Sie erhalten eine E-Mail, um sich für eine oder beide Optionen anzumelden.


Holen Sie sich Ihr Benutzerhandbuch per E-Mail

Geben Sie Ihre E-Mail-Adresse ein, um das Handbuch zu erhalten von Allen-Heath GL 2400 in der Sprache / Sprachen: Englisch als Anhang in Ihrer E-Mail.

Das Handbuch ist 4,02 mb groß.

 

Sie erhalten das Handbuch in Ihrer E-Mail innerhalb von Minuten. Wenn Sie keine E-Mail erhalten haben, haben Sie wahrscheinlich die falsche E-Mail-Adresse eingegeben oder Ihre Mailbox ist zu voll. Darüber hinaus kann es sein, dass Ihr ISP eine maximale Größe für E-Mails empfangen kann.

Das Handbuch wird per E-Mail gesendet. Überprüfen Sie ihre E-Mail.

Wenn Sie innerhalb von 15 Minuten keine E-Mail mit dem Handbuch erhalten haben, kann es sein, dass Sie eine falsche E-Mail-Adresse eingegeben haben oder dass Ihr ISP eine maximale Größe eingestellt hat, um E-Mails zu erhalten, die kleiner als die Größe des Handbuchs sind.

Ihre Frage wurde zu diesem Forum hinzugefügt

Möchten Sie eine E-Mail erhalten, wenn neue Antworten und Fragen veröffentlicht werden? Geben Sie bitte Ihre Email-Adresse ein.



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