Create Iem Mixes With Ambience; Using The Matrix To Create A Recording; Recording With The Gl2800; Pre/Post Fade Aux Settings - ALLEN & HEATH GL2800 User Manual

MATRIX EXT IN
(COMMON) ST4 IN ST3 IN ST2 IN ST1 IN
MTX MTX MTX MTX
L/M L/M L/M L/M
IN IN IN IN
4 3 2 1
MTX OUT MTX OUT MTX OUT MTX OUT
4 3 2 1
R
RT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
L 8 7 6 5 4 3 2
AUX AUX AUX AUX AUX AUX AUX AUX
(R) (L) (GRP) (GRP) (GRP) (GRP) (GRP) (GRP) (GRP)
9 8 7 6 5 4 3 2
8 7 6 5 4 3
GRP GRP GRP GRP GRP GRP
(AUX) (AUX) (AUX) (AUX) (AUX) (AUX)
AUX
1
O O
AUX
2
AUX
3
O O
AUX
4
O O
AUX
5
O O
AUX
6
O O
AUX
7
OO
AUX
8
OO
AUX
9-10
STEREO
OO
PAN
L
GL2800 User Guide

Create IEM Mixes with Ambience

matrix continues to be fed with the 8 groups, L, R and M mixes. You
can use these to create additional, independent monitor mixes.
Together with the auxes these give you as many as 14 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 eight instrument or 'more me' groups. Add
ambience using a pair of jack leads to patch the stereo channel MICs
MIC OUT MIC OUT
(BREAKPOINT) (BREAKPOINT)
into matrix EXT IN 1 and 2. With nothing plugged into EXT IN 3 and 4
STEREO LINE IN STEREO LINE IN
L/M L/M
the two mic signals are automatically linked across making the same
LAMP
R R
stereo ambience available to both IEM mixes. Alternatively you could
MIC IN MIC IN
use an outboard reverb effects processor fed from a post-fade aux
INSERT
1
send to create the ambience. Use the channel faders and pan to
AUX
(GRP)
1
create the basic stereo mix. Remember to set the other monitor aux
USE ON
INSERT
SEND ALLEN
TIP
(GRP/AUX REVERSE)
RING DC POWER IN
RETURN
2 1
A
GRP
(AUX)
sends to pre-fade.

Using the Matrix to create a Recording

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 GL2800

home recording live or in the project studio.
+6
preamps produce an accurate and noise-free recording. Create a
stereo recording from the main LR output, or from a pair of matrices as
PRE-EQ PRE-EQ 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.
+6
outputs are set pre-fade as factory default. This setting means that the
recording is not affected by your live fader and EQ changes. Note that
+6
you can swap internal jumpers to change this to post-fade if you
POST
PRE
prefer. Set the channel pre-EQ switches as required. Remember to
use some ambience microphones to record the audience and venue
atmosphere too.
+6
+6

Pre/post Fade Aux Settings

or post fader using three PRE switches on every channel. One switch
+6
affects auxes 1-4, another auxes 5-8, and one for stereo aux 9-10. It is
usual to set auxes pre-fade if you are mixing monitors from FOH. Set
+6
POST
post-fade for auxes used as effects sends, zone feeds, aux-fed subs
PRE
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
+6
=
faders set to '0'.
R
There are times when you may want some monitor sends set post-
POST
fade while most are set pre-fade, for example mixing monitors with
PRE
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.
In Monitor mode the
The band may be
The console is equally at
The studio grade
The direct
The aux sends are switched pre
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