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DIRECT
OUT
24
MIC OUT
MIC OUT
(BREAKPOINT)
16
15
ST4
ST3
ST2
L/M
L/M
L/M
R
R
R
MIC IN
MIC IN
16
15
+48V
30
30
40
20
20
MIC
MIC
GAIN
GAIN
50
6
60
6
0
0
ST1
ST3
-5
-5
5
-10
-10
-20
10
-20
16
O
O
O
O
STEREO
STEREO
CH15
LR
0
0
ST2
ST4
-5
-5
5
-10
-10
-20
-20
10
16
O
O
O
O
STEREO
STEREO
CH15
LR
GL2400 User Guide
Using the channel Direct Outputs
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 post-
fade by setting internal jumpers.
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.
Using the Stereo Channels
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
ST1
control and can be routed either into the channel or directly to the LR
L/M
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
R
applications:
Standard Mono Microphone Channels Mono mic input through the
channel with 4band EQ, auxes and full routing.
switches to re-route the stereo inputs direct to LR for simple effects
returns and source inputs.
True Stereo Microphone Channel
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
+48V
as a dual stereo input fed from ST3/4, or as a single ST4 input with
40
ST3 routed independently to LR.
50
60
Mixing Two Microphones through One Channel
patch CH15 MIC OUT into ST1 L/M, and channel 16 MIC OUT into ST2
5
L/M. Set ST1 and 2 levels to mid ‘'0dB’' position. This mixes the two
10
mics together in mono, for example when using one channel for two
16
CH16
choir microphones. CH16 is available for stereo line sources.
LR
Patchable Microphone Preamplifier
5
from the channel and patch it elsewhere to be used independently.
10
For example, plug in a room microphone and patch MIC OUT to a
16
CH16
matrix EXT IN to add ambience to a recording or monitor feed, or use
LR
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
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
‘'Y’' splitter cable or adapter to feed one output to two destinations, but
never try to combine two outputs to one destination.
damage or degrade the performance of the equipment driver stage.
Default factory setting is
Use post for feeding an effects
Stereo channels 15 and 16
Press the mode
For example, use short jack
Disconnect the mic preamp
A trademark of Allen & Heath consoles is
As above but
You can use a
This may
31
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