Beruflich Dokumente
Kultur Dokumente
GL2200
Dual Function Audio Mixing Console
USER GUIDE
PUBLICATION: AP3388
CONDITIONS OF WARRANTY
1. The equipment has been installed and operated in accordance with
the instructions in this User Guide.
2. The equipment has not been subject to misuse either intended or
accidental, neglect, or alteration other than as described in the User
Guide or Service Manual, or approved by ALLEN & HEATH.
3. Any necessary adjustment, alteration or repair has been carried out by
ALLEN & HEATH or its authorised agent.
4. The defective unit is to be returned carriage prepaid to ALLEN &
HEATH or its authorised agent with proof of purchase.
5. Units returned should be packed to avoid transit damage.
GL2200 User Guide AP3388 Issue 5. Copyright 2004 Allen & Heath Limited. All rights reserved
ALLEN&HEATH
CONTENTS
CONTENTS ..................................................................................................... 3
INTRODUCTION, SERVICE, SAFETY & PRECAUTIONS .......................................... 4
KEY FEATURES, THE RANGE & OPTIONS ........................................................... 5
CONNECTING POWER TO THE CONSOLE ............................................................ 6-7
EARTHING THE AUDIO SYSTEM ......................................................................... 7
PLUGGING UP THE CABLES ............................................................................... 8-9
ADJUSTING THE LEVELS ................................................................................... 9
FLIGHTCASING THE CONSOLE ........................................................................... 10
MONO INPUT CHANNEL ................................................................................... 11-12
STEREO INPUT CHANNEL ................................................................................. 13-14
STEREO RETURNS & AUX MASTER OUTPUTS ................................................... 15
GROUP OUTPUTS ........................................................................................... 16
MODE SWITCHING ........................................................................................... 17
MASTER & MONITOR ....................................................................................... 18
OSCILLATOR/PINK NOISE & TALKBACK ............................................................. 19
APPLICATION FRONT OF HOUSE.................................................................... 20
APPLICATION STAGE MONITOR...................................................................... 21
APPLICATION DUAL MODE ............................................................................ 22
FRONT PANEL LAYOUT .................................................................................... 23
REAR PANEL LAYOUT / SPECIFICATIONS & CONNECTIONS .................................. 24
INTERNAL LINK OPTIONS ................................................................................. 25
CUE SHEETS .................................................................................................. 26-27
GL2200 BLOCK DIAGRAM ............................................................................... COVER
INTRODUCTION
The GL2200 continues ALLEN & HEATHs commitment to provide high quality audio mixing consoles
engineered to meet the exacting requirements of todays audio business. It brings you the latest in
high performance technology and offers the reassurance of over two decades of console manufacture
and customer support.
This user guide presents a quick reference to the function, application and installation of the GL2200.
We recommend that you read this guide fully before operating the console For further information on
the basic principles of audio system engineering please refer to one of the specialist publications
available from bookshops and audio equipment dealers.
Whilst we believe the information in this guide to be reliable we do not assume responsibility for any
inaccuracies. We also reserve the right to make changes in the interest of further product
development.
SAFETY WARNING!
Mains electricity is dangerous and can kill. Mains voltage
is present within the console power supply.
Do not remove the power supply cover with mains
electricity connected. To ensure your safety, mains earth
is connected to the chassis through the power lead. Do
not remove this mains earth connection.
To avoid the risk of fire, replace the mains fuse only with
the correct value and type as indicated on the power
supply unit.
GENERAL PRECAUTIONS
Your GL2200 is ruggedly constructed to give many years of reliable operation. However, you will
extend the life of the console and preserve its cosmetics by applying these simple common sense
precautions.
Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions
where it is likely to be subject to vibration, dust, dirt or moisture.
Do not use any liquids to clean the control surface of the console, a soft dry brush or dry lint-free
cloth is ideal.
Use only water or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause
damage to paint or plastic parts.
The faders, switches and potentiometers are lubricated for life. The use of electrical lubricants on
these parts is not recommended.
Avoid using the console close to strong sources of electromagnetic radiation (e.g. video monitors,
high power electric cabling): this may cause degradation of the audio quality due to induced
voltages in connecting leads and chassis. For the same reason, always site any external power
supply away from the unit.
4 groups, 6 auxes
Talkback facility
Sys-linkTM expandability
The console is constructed using zinc plated steel panels and 1.6mm thick metal side plates.
Individual circuit board assemblies are accessible by removal of the steel base. A durable soft front
armrest is provided for comfort. A channel top write-on strip is provided for channel marking. High
quality reliable parts are used throughout. High performance op-amp and discrete circuits are used to
ensure low noise and sonic purity. The internal power supply is a low noise switch mode unit that can
be linked with an external DC power supply.
THE RANGE
12, 16, 24 and 32 channel models
GL2200-412 10 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
GL2200-416 14 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
GL2200-424 22 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
GL2200-432 30 mono, 2 stereo, 4 groups, 6 aux, 2 stereo returns, L, R, Mono sum
OPTIONS
GL2200-SL1
RPS11-3C
002-225
100 - 240V~
EXTERNAL SUPPLY
ACTIVE
INTERNAL SUPPLY
ACTIVE
WARNING: TO REDUC
SEE INSTA
DO NOT OB
NO USER S
The GL2200 console can be powered from either the internal power supply, from an external
DC supply such as the Allen & Heath RPS11, or both together. The LED indicators on the rear
panel illuminate to indicate which supply is active.
Normally the internal power supply will be used to power the console by the standard 3 pin IEC
mains input connector. A mains cable with moulded mains plug suitable for the local supply is
supplied. Check that the correct mains lead with moulded plug has been supplied with your
console. Ensure that the IEC mains plug is fully inserted into the rear panel socket before
switching on.
POWER SUPPLY
The internal power supply for the GL2200 is a switch mode supply and will operate from a wide
range of mains input voltages. It produces the DC voltages required by the console. Before
switching on your console, check that the ac mains fuse is of the correct type and rating. This is
clearly marked on the rear panel of the console. Do not replace the fuse with any other type, as
this could become a safety hazard and will void the warranty.
AC~ mains input voltage
Fuse value
T 1A 250V 20mm
An external DC supply may be used instead of, or together with the internal supply. Use only
recommended Allen & Heath power supplies or a supply approved by Allen & Heath. The use of
alternative supplies is not recommended and may cause damage.
The pin connections for the EXTERNAL DC IN connector are specified below:
Pin
Voltage
Current
-16V
1.5A
Audio 0V
Chassis 0V
+16V
1.5A
+48V
0.1A
In the absence of an active 100V to 230V a.c. mains supply, the GL2200 will automatically switch over
to the external DC supply unit if connected.
Always turn connected power amplifiers down or off before switching the console on or off.
For best performance it is important that the earth system is solid, clean and noise-free. To prevent
mains-borne and external interference pickup from lighting equipment, motors and other mains
powered equipment it is recommended that a separate clean mains distribution outlet is used for the
audio system.
All signal cables should have their screens connected to earth at the connector. If earth (ground) loop
problems result in audible hum or buzz then disconnect the cable screen connection at one end,
usually the destination end. This may be done within the cable plug or by operating the ground lift
switch if available on the connected equipment. Many DI boxes and power amplifiers include this
facility.
XLR
TRS jack
Pin 1
0V earth shield
Tip
Pin 2
+ / hot / signal
Ring
Pin 3
- / cold
Sleeve
0V earth shield
CABLE WIRING
Tip
1
OUTPUT
Ring
Sleeve
Tip
Ring
BALANCED
Sleeve
3
2
CONSOLE
CONNECTIONS
INPUT
3
1
Tip
1
OUTPUT
3
2
Link
Sleeve
Sleeve
Tip
UNBALANCED
CONSOLE
CONNECTIONS
2
INPUT
3
1
Sleeve
Ring
CONSOLE
CONNECTIONS
Tip
UNBALANCED
Ring
Tip
Sleeve
OUTPUT
Link
INPUT
RCA PHONO PLUG
To connect an unbalanced source to a balanced console input, link the cold input (XLR pin 3 or
jack ring) to 0V earth (pin 1 or jack sleeve) at the console. To connect a balanced console
output to an unbalanced destination link the cold output to 0V earth at the console.
CONNECTING TO INSERTS
You do not need to plug anything into the insert socket for normal operation. You may, however
wish to insert a signal processor such as a compressor/limiter or noise gate into the signal path
to prevent excessive peaks or to cut down source noise. The insert lets you do this by breaking
the signal path after the input pre-amp and before the EQ in the channel input or before the
fader in the Group and L-R section. Use a Y-lead or suitable TRS jack lead to connect to the
external processor. The insert operates at 0dBu line level in the channel input and 2dBu in the
Group and L-R section. Adjust the processor input and output levels for optimum signal level.
DIMENSIONS
Unpacked
Packed
Width
depth
height
weight(kg)
Width
depth
height
weight(kg)
GL2200-412 ........................548 ............ 572 ............ 155 ............ 16.....................700 ............ 750 ............ 280 ............ 20
GL2200-416 ........................668 ............ 572 ............ 155 ............ 18.....................815 ............ 750 ............ 280 ............ 23
GL2200-424 ........................920 ............ 572 ............ 155 ............ 24.....................1065 .......... 750 ............ 280 ............ 29
GL2200-432 ........................1160 .......... 572 ............ 155 ............ 30.....................1325 .......... 750 ............ 280 ............ 35
RPS11 power supply ..........483 ............ 232 ............ 135 ............ 9.5....................575 ............ 270 ............ 170 ............ 11
10
48V
PAD
-30dB
0
GAIN
40
30
MIC INPUTS Plug a microphone source into the XLR input. If you
leave the jack input unplugged then the PAD (LINE) switch becomes a
30dB pad for the microphone. This lets you use the XLR input for high
output microphones, or for line level sources.
LINE INPUTS Plug a line level source into either the XLR or the TRS
jack input. If you use the XLR input make sure that you do not plug
anything into the jack input, and that you press the PAD (LINE) switch.
If you use the TRS jack input make sure that you press the PAD (LINE)
switch. The jack input is only selected with this switch pressed.
50
PAD
- 10 20
60 30
100Hz
0
HF
12kHz
-15
+15
3kHz
500Hz
15kHz
MF1
-15
+15
250Hz
35Hz
1kHz
0
MF2
-15
48V selects +48V to the XLR input for microphones that require phantom power.
IMPORTANT NOTE : Switch off channel +48V when non-phantom powered
mic, line or unbalanced sources are to be used with the inputs.
+15
0
LF
60Hz
-15
+15
EQ IN
AUX
1
reverses the POLARITY of the input source to correct the problems often
encountered in microphone placement, or due to incorrectly wired cables (pin 3
hot instead of pin 2). May also helpful in reducing acoustic feedback between
closely positioned loudspeakers and mics in live sound mixing.
PAD (LINE) selects the line level jack input when pressed or becomes a 30dB pad
for the XLR input when no jack is plugged in. The XLR is normalled through the
unplugged jack contacts. See MIC/LINE description above.
GAIN matches the level of the input source to the normal operating level of the
console. Adjust this to read an average 0dB on the channel meter (yellow LED).
Use the PFL system to listen to the signal and fine tune the gain.
0
OO
+6
OO
+6
OO
+6
OO
+6
AUX
2
AUX
3
AUX
4
PRE
AUX
5
0
OO
+6
OO
+6
AUX
6
100Hz 18dB/Octave lo-cut filter removes low frequency noise such as microphone
pops, proximity effect, stage noise and transport rumble after the pre-amp stage. It
can also be used to clean up sounds that do not have much bass content, such as
vocals and cymbals. The lo-cut filter is independent of the equaliser.
PRE
C
PAN
The 4-band EQ lets you adjust the tonal quality of the sound. The
LF (bass) bands have a shelving response, which means that
beyond the corner frequency are affected. Used with the 100Hz
can tailor the low frequency response exactly as you require.
position is detented for quick resetting.
EVEN
R
ODD
L
MUTE
PEAK
+6
0
10
SIG
HF (treble) and
all frequencies
lo-cut filter you
The centre flat
AMPL(dBr) vs FREQ(Hz)
PFL
L-R
10.00
0.0
1-2
-10.00
10
3-4
-20.00
-30.00
20
-40.00
30
OO
-50.00
-60.00
10
100
1k
10k
20k
HF and LF EQ
11
48V
PAD
-30dB
0
GAIN
The 2 mid frequency bands MF1 and MF2 can be swept across a wide frequency
range to tune into the exact frequency required; useful for getting the best out of
microphones or for tuning out troublesome feedback. The mid bands are
overlapping with a Q of 1.6 and can boost or cut in excess of +/- 15dB. The centre
flat position is detented for quick resetting.
40
30
50
PAD
- 10 20
60 30
100Hz
0
HF
12kHz
-15
+15
3kHz
500Hz
15kHz
MF1
-15
+15
250Hz
35Hz
1kHz
0
MF2
-15
+15
MF1 EQ
LF
60Hz
-15
+15
EQ IN
AUX
1
0
OO
+6
OO
+6
OO
+6
OO
+6
AUX
2
AUX
3
AUX
4
PRE
AUX
5
0
OO
+6
OO
+6
AUX
6
PRE
C
PAN
EVEN
R
ODD
L
MUTE
PEAK
+6
0
10
SIG
5
PFL
L-R
1-2
10
3-4
20
30
OO
12
MF2 EQ
48V
12
30
20
40
50
MIC
GAIN
10
60dB
MIC TO TALK
10
0
LINE
GAIN
OO
20
LINE
TO L-R
MIC
LINE
0
HF
12kHz
-15
+15
0
MF1
2.5kHz
-15
+15
0
MF2
250Hz
-15
+15
0
LF
60Hz
-15
+15
EQ IN
AUX
1
0
OO
+6
OO
+6
OO
+6
OO
+6
AUX
2
AUX
3
AUX
4
MIC TO TALK
ENABLE
48V selects +48V DC to the XLR input for microphones that require phantom
power.
IMPORTANT NOTE : Switch off channel +48V when non-phantom
powered or unbalanced sources are connected to the XLR input.
PRE
AUX
5
0
OO
+6
OO
+6
AUX
6
PRE
C
BAL
ODD
L
EVEN
R
MUTE
PEAK
+6
0
10
SIG
5
PFL
L-R
1-2
10
3-4
20
30
OO
STEREO
15-16
The 4-band stereo EQ lets you adjust the tonal quality of the sound. The HF
(treble) and LF (bass) bands have a shelving response, which means that all
frequencies beyond the corner frequency are affected. The 2 mid frequencies
MF1 and MF2 provide optimum control over boomy or boxy sounds (250Hz),
and can add bite or reduce harshness to keyboards, vocals etc. (2.5kHz). The
centre flat position is detented for quick resetting.
6 AUX SENDS provide feeds for foldback monitors and effects. Aux 1-4 and
Aux 5-6 may be set to pre or post-fader using the PRE switch. The left and
right stereo signals are summed to provide aux feeds in mono.
Monitor sends to the performers are usually set pre-fade (PRE), although
some sources such as radio mics are often set post-fade to avoid dressing
room talk spill.
Effects sends to external signal processing equipment such as reverb and
delay effects units, are usually set post-fade so that the amount of effect (wet
signal) is always relative to the position of the fader (dry signal).
Adjust the amount of effect required for each channel using its AUX control.
The effect is returned to the mix through another channel, usually the stereo
return described later in this guide.
POST-FADE sends are post-EQ, post-mute. PRE-FADE sends are set postEQ, post-mute as standard. Internal link options are available to change the
source of the pre-fade sends. Refer to the internal link options section in this
user guide.
Note; AUX 1-6 feed XLR outputs with inserts when the GRP/AUX
REVERSE switches are pressed in the master section.
13
48V
12
30
20
40
50
MIC
GAIN
10
60dB
MIC TO TALK
10
0
LINE
GAIN
OO
20
LINE
TO L-R
MIC
LINE
0
HF
12kHz
-15
+15
0
MF1
2.5kHz
-15
+15
0
MF2
250Hz
-15
+15
0
LF
60Hz
-15
+15
EQ IN
AUX
1
MIC TO TALK
ENABLE
BAL positions the channel signal within the stereo image or between L-R and
the groups when the routing switches are selected. The centre position is
detented for quick resetting.
MUTE switches the signal off when pressed regardless of fader position.
Muted channels are indicated by red LEDs. The meter continues to indicate
pre-fader channel activity.
A 4 LED CHANNEL METER shows signal activity. The green SIG LED
indicates signals greater than -20dBu, yellow 0 and +6 represents normal
operating level, and red PEAK warns of potential overload 5dB before clipping.
Set the channel signal so that the meter averages between 0 and +6. Back
the gain off if the red peak LED flashes.
Pressing PFL lets you listen to the channel pre-fader signal on headphones
without interrupting the main console outputs. The signal level is shown on the
L-R bargraph meters. In this way each sound can be correctly lined up and
checked at any time.
L-R, 1-2, 3-4 routing switches feed the channel signal to L-R mix and groups
1-2, 3-4. Use the pan control to route to individual groups, ie left to route to L,
1, 3 and right to route to R, 2, 4. In this way subgroups may be set up in mono
or stereo to feed the main L-R mix.
A 100mm FADER provides +10dB boost above the normal 0 operating level.
All post-fade aux send levels are dependent on the level of the fader.
0
OO
+6
OO
+6
OO
+6
AUX
2
TALKBACK SIGNAL
TO OSC/TALKBACK
AUX
3
AUX
4
MIC TO TALK
ENABLE
(LAST STEREO ONLY)
GAIN
0
OO
MIC IN
+6
2= +
x2
PFL
4-BAND
EQUALISER
PRE
STEREO
CHANNEL
PEAK
+6dB
0dB
SIG
FADER
HF
AUX
5
+48V
0
OO
MIC/
LINE
+6
AUX
6
0
OO
MF1
L
+6
EQ IN
BAL
MUTE
MF2
L-R
1-2
POST
3-4
LF
PRE
C
BAL
ODD
L
EVEN
R
MUTE
L/MONO
LINE
LEV
POST-EQ
POST-MUTE
PRE-EQ
PRE-MUTE
PEAK
SUM
+6
10
SIG
PRE
SUM
POST-FADE
SWITCHED
PRE-FADE
AUX 1
AUX 2
AUX 3
PFL
L-R
AUX 4
POST
PRE
AUX 5
1-2
10
3-4
AUX 6
20
POST
PRE
30
LINE TO L-R
AUX 1-6
GRP 1-4
LEFT
RIGHT
P/AFL
OO
STEREO
15-16
14
STEREO RETURNS
HF
12kHz
-15
+15
0
LF
60Hz
-15
+15
AUX
1
0
OO
+6
OO
+6
AUX
2
BAL
ODD
EVEN
MUTE
PFL
10
L-R
1-2
5
0
5
10
20
Two stereo return inputs are provided with 2-band EQ, sends to auxes 1 & 2 and
routing to L-R mix or groups 1-2/3-4. These are normally used to return the effects
(wet) signal, usually from a stereo device, to the mix. They can also be used for
additional line inputs to the mix.
A 2 band EQ provides HF and LF control with 15dB cut and boost at 12kHz and
80Hz respectively. This is often used to remove unwanted high or low frequency
noise from effects devices.
2 aux sends are provided to feed a summed left and right pre-fade post mute
signal to auxes 1 & 2. This is ideal for returning effects to the monitors without
using up valuable channel inputs.
The BAL control adjusts the balance between left and right signals, or can be used
as a pan control to route the signal to one side only by rotating fully.
MUTE switches the signal off when pressed regardless of fader position. Muted
Returns are indicated by red LEDs. Mute does affect the pre-fade aux sends.
Pressing PFL lets you listen to the channel pre-fader signal on headphones
without interrupting the main console outputs. The signal level is shown on the L-R
bargraph meters. In this way each sound can be correctly lined up and checked at
any time.
L-R/1-2 (3-4) ROUTING SWITCHES - In the up position the signal is routed to the
main L-R mix but may be returned to the corresponding pairs of subgroups for
group effects (1-2 or 3-4).
A smooth travel 60mm FADER provides precise control of the level.
30
OO
STEREO
RETURN
AUX OUTPUTS
AUX MASTERS
Each aux mix has a master level control that adjusts the output level to match external
equipment, or to trim the monitor or effects level without affecting the mix balance. Up to +10dB
of boost is available above the nominal 0 position. Auxiliary outputs are on 3-wire impedance
balanced 1/4 TRS jacks.
AFL (After Fade Listen) routes the post mix signal to the console meters and headphone
monitoring to allow checks for sound quality and mix level.
AUX
1
OO
AUX
2
+10
AFL
GRP/AUX 1-2
REVERSE
OO
+10
AFL
AUX
3
OO
AUX
4
+10
AFL
OO
AUX
5
+10
AFL
GRP/AUX 3-4
REVERSE
OO
AUX
6
+10
AFL
L-R/AUX 5-6
REVERSE
OO
+10
AFL
FOH
STAGE MONITOR
If MODE SWITCHING aux/groups reverse is in operation, aux master level controls are
connected to the corresponding group busses (Group 1 to Aux Master 1, etc...). Refer to
MODE SWITCHING section on page 17 for more information
15
GROUP OUTPUTS
GROUPS
GRP/AUX 1-2
REVERSE
PEAK
PEAK
+6
+6
SIG
SIG
2
L-R
C
PAN
L-R
C
PAN
MUTE
MUTE
AFL
AFL
10
10
10
10
20
20
SUB GROUPING
Sometimes it is necessary to control more than one channel
simultaneously, in the case of a drum kit or a group of backing vocalists
for example.
Route the relevant channels to groups instead of L-R, using the channel
routing switches and the pan controls.
PAN control positions the signal in the stereo image with the L-R switch
routing the group mix to the Left & Right masters. Ensure the group L-R
switch is selected to route the group signal to the L-R mix.
In this way, one group fader can control the level of several channels.
It is possible to set up mono or stereo subgroups using the channel and
group PAN controls.
AFL
SL
30
30
OO
OO
AUX
BAL
AUX MIX
GROUP/LEFT
FADER
AUX1
PEAK
+6dB
0dB
SIG
AUX
INSERT
BAL
-2dBu
AUX2
AUX5
AUX3
GRP
OUT
AFL
SL
AUX1
MUTE
GROUP MIX
GRP
AUX
GROUP1
GRP
AUX
GROUP3
LEFT
2=+
+4dBu
SUBGROUPING
(GROUP CCTS ONLY)
L-R
PAN
L POST
TO MONITOR
(L CCT ONLY)
SAME FOR
GROUP1-2, GROUP3-4, L-R
AUX1-2, AUX3-4, AUX5-6
AFL
AUX
SL
BAL
AUX MIX
OUT
GROUP/RIGHT
FADER
SL
PEAK
+6dB
0dB
SIG
INSERT
-
GROUP MIX
MUTE
AUX 1-6
GRP 1-4
LEFT
RIGHT
P/AFL
R POST
TO MONITOR
(R CCT ONLY)
GRP
AUX
GROUP2
2=+
+4dBu
SUBGROUPING
(GROUP CCTS ONLY)
L-R
PAN
AUX6
AUX4
GRP
AUX
BAL
-2dBu
16
AUX2
AFL
REV
5-6
L-R
REV
3-4
REV
1-2
GROUP/AUX REVERSE
GROUP4
GRP
AUX
RIGHT
MODE SWITCHING
The GL2200 features a set of GROUP/AUX REVERSE (REV) switches, which can transpose the AUX
and GROUP controls in pairs. These switches are recessed to avoid accidental operation. Set using a
pointed object or a pen tip.
This feature allows you to set the operation of the console for Front Of House, Stage monitor or a
combination of both (Dual mode).
With the switches out, the groups operate in the conventional manner, channel grouping using the
channel routing switches.
When the REVERSE switches are pressed in, the group busses are routed to the AUX send masters
and the aux busses are routed to the GROUPS (Aux 1 to Group 1, etc). Aux 5 & 6 are routed to L-R
faders respectively.
This configuration allows the user to control up to six monitor mix levels on faders. Outputs are on
balanced XLRs for long cable runs and a signal processor (equaliser, compressor, limiter, etc.) can be
inserted into the signal path using the group and left/right INSERT jacks.
The L-R and group busses are still operational but are now routed to the aux master controls and can
be used for additional monitor or effect sends.
It is advisable to study the GL2200 block diagram to fully understand this flexible routing arrangement.
1
2
Groups
Aux
Sends
1-2
Press
GRP/AUX REVERSE
switches.
5-6 / L-R
3-4
Aux Inserts
PAN
Group Outputs
Aux Outputs
Channel
Routing
L-R
1-2
3-4
Aux Masters
INPUT
CHANNEL
17
POWER
LAMP
2-TRACK
0
SEND
OO
RECORD
+10
OO
RETURN
+10
REPLAY
TO
L-R
MONITOR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
PFL/AFL
MONITOR
LEV 4 5
7
8
9
0
10
L-R
2-TRK
AUX
6
OO
+10
OO
+10
AFL
AFL
L-R/AUX 5-6
REVERSE
FOH
STAGE MONITOR
PEAK
PEAK
+6
+6
SIG
SIG
R6
MONO OUT
PFL/AFL
OO
+10
MUTE
18
MUTE
AFL
AFL
10
10
10
10
20
20
30
30
OO
OO
AUX5
AUX6
MONO OUTPUT
WEDGE MONITOR
3
2
AUX
5
The MONO OUT / AFL/PFL switch sources the signal from either a
summed post-fader L-R mix or the AFL/PFL mix. When MONO OUT is
selected, the MONO output provides for a centre fill or sub-bass
loudspeaker, mono recording or broadcast feed. When AFL/PFL is
selected, you can feed a stage monitor engineers listen wedge.
This switch is recessed to avoid accidental operation. Use a pointed
object or pen tip to operate.
1kHz OSC
PINK NOISE
9
0
10
1kHz/Pink Noise Selects between the two signal types outlined above.
The level control allows adjustment from 20dBu to +20dBu.
When the TALK switch is pressed, the level of the oscillator/pink noise is reduced by
12dB.
L-R, GRP 1-4, AUX 1-2, AUX 3-4, AUX 5-6 routing switches assign the oscillator/pink
noise and talkback to the required mix busses.
ON Switches the oscillator/pink noise on and off. LED indicates status. Under-panel
switch prevents accidental triggering of the oscillator during performances.
L-R
AUX
1-2
AUX
3-4
AUX
5-6
OSC/NOISE
ON
TALK
TALKBACK
The talkback input is connected into the Mic input of the SECOND STEREO INPUT
CHANNEL. By selecting LINE, the signal is fed to the routing switches in the
oscillator/pink noise section and talkback is enabled when the momentary TALK
switch is pressed. Talk to several destinations at the same time by selecting a
combination of routing switches.
Use the MIC GAIN control on the stereo input channel to control talkback level.
+48V is available for microphones which require phantom power.
The ability to talk to auxes (foldback monitors) is important when using the console for
stage monitoring and cueing the performers.
The line jack inputs of the second stereo input channel can still be used when the mic
input is enabled for talkback.
AUX 1-6
GRP 1-4
LEFT
RIGHT
P/AFL
GRP
1-4
L-R
1KHz
OSCILLATOR
GRP1-4
AUX1-2
AUX3-4
AUX5-6
PRESS
TO
TALK
OSC/PINK NOISE
/TALKBACK
LEVEL
DIM
ON
SELECT
PINK
NOISE
GEN
TALKBACK SIGNAL
FROM STEREO INPUT
19
FRONT OF HOUSE
MONO
MONO
GROUPS 1 & 2
GROUPS 3 & 4
INSERTS
LR
The
inserts
on
the
channels and outputs may
be used for outboard
effects
and
signal
processing devices such
as compressors, limiters
and graphic equalisers.
FOLDBACK
pre-fade aux sends
returns
inputs
EFFECTS
Post fader aux sends
returns
MULTITRACK RECORDER
CD PLAYER
playback
EFFECTS
Post fader aux sends
2 TRACK RECORDER
insert
stereo chans
record
L
R
SIGNAL
PROCESSOR
(compressor)
2-TRACK
MONITOR
STEREO
STEREO
RETURN
RETURN
L/MONO
RETURN
15
STEREO
IN
inserts
INSERT R
L INSERT
INSERT
INSERT
INSERT
SEND
13
STEREO
IN
14
MIC
GRAPHIC EQUALISERS
L/MONO
16
12
MIC
11
INSERT
INSERT
INSERT
INSERT
INSERT
10
LINE
IN
LINE
IN
LINE
IN
LINE
IN
LINE
IN
INSERT
INSERT
INSERT
INSERT
LINE
IN
LINE
IN
LINE
IN
LINE
IN
INSERT
1
LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
INSERT
TALKBACK
10
direct outs
GRAPHIC EQUALISERS
MULTITRACK RECORDING
AUX MASTERS
AUX
POST
AUX SENDS
Select aux 1-4 post-fade to access 4
effects processing devices. Use the
stereo returns and stereo inputs to add
the effects to L-R and mono mix.
PRE
20
STAGE MONITOR
STAGE MONITORS
6
1
5
2
4
3
mic
splitter
AMPLIFIERS
GRAPHIC
EQUALISERS
R
inserts
GRAPHIC EQUALISERS
Graphic equalisers plugged into the console inserts are
an invaluable aid to reducing on-stage acoustic
feedback and enhancing the clarity of the monitors.
Using AFL allows the stage engineer to check the
operation of the equalisers in the listen wedge monitor.
It is best to use the same type of loudspeaker for the
engineer's monitor as those used on stage.
L
4
3
2
1
2-TRACK
MONITOR
STEREO
STEREO
RETURN
RETURN
L/MONO
RETURN
15
STEREO
IN
to FOH
console
16
R
MIC
INSERT R
L INSERT
INSERT
INSERT
INSERT
13
STEREO
IN
14
MIC
11
INSERT
10
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
INSERT
LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
INSERT
SEND
L/MONO
12
TALKBACK
10
TALKBACK
Selecting the GRP 1-4 and L-R
switches in the OSC/NOISE
section enables talkback to the
performers using the stage
monitors.
SIGNAL
PROCESSOR
AUX
PRE
PRE
21
DUAL MODE
R
MULTITRACK RECORDING
Connect the inputs of the multitrack to the aux
jack outputs. These are now the group mix
outputs. Any unused multitrack inputs can be
connected to the channel direct out sockets to
record each channel on a separate track for mix
down later.
MONO
MONO
LR
STAGE MONITOR
AUX 3 & 4
STAGE MONITOR
pre-fade aux sends
AUX 1 & 2
MULTITRACK RECORDER
EFFECTS
aux 6
COMPRESSORS/LIMITERS
returns
SIGNAL
PROCESSOR
(compressor)
GRAPHIC
EQUALISERS
4
inserts
3
2
insert
1
L
R
2-TRACK
MONITOR
STEREO
STEREO
RETURN
RETURN
L/MONO
RETURN
15
STEREO
IN
inserts
16
R
MIC
INSERT R
COMPRESSOR / LIMITER
M
R
L INSERT
INSERT
INSERT
INSERT
SEND
L/MONO
13
STEREO
IN
14
INSERT
10
LINE
IN
INSERT
INSERT
LINE
IN
LINE
IN
INSERT
7
LINE
IN
INSERT
6
LINE
IN
INSERT
5
LINE
IN
INSERT
4
LINE
IN
INSERT
3
LINE
IN
INSERT
2
LINE
IN
INSERT
1
LINE
IN
12
MIC
11
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
INSERT
TALKBACK
10
groups 1 & 2
GRAPHIC EQUALISERS
Graphic equalisers plugged into the inserts are an
invaluable aid to reducing on-stage acoustic
feedback and enhancing the clarity of the monitors.
aux 1- 4
L- R
AUX
PRE
POST
22
10
48V
11
48V
12
30
GAIN
50
MIC
GAIN
40
30
40
60dB
10
- 10 20
60 30
10
-15
OO
LINE
GAIN
20
OO
-15
+15
SEND
OO
RECORD
AUX
1
+10
OO
OO
+15
L-R
OO
+6
+6
BAL
3kHz
+6
AUX
2
LINE
TO L-R
OO
RETURN
+10
REPLAY
TO
+6
AUX
2
20
LINE
TO L-R
-15
+15
OO
LINE
GAIN
HF
100Hz
12kHz
60Hz
AUX
1
10
2-TRACK
60Hz
MIC TO TALK
LAMP
+15
LF
60dB
10
50
PAD
-15
LF
50
MIC
GAIN
POWER
+15
0
20
40
-30dB
0
HF
12kHz
-15
30
20
PAD
HF
12kHz
MONITOR
+16
BAL
+9
+6
500Hz
MIC
LINE
15kHz
MF1
HF
MIC
LINE
0
HF
12kHz
L
MIC TO TALK
ENABLE
ODD
EVEN
EVEN
-15
+15
0
MF1
MF2
-15
-15
60Hz
-15
-15
+15
+15
0
OO
0
OO
+6
AUX
2
-15
+15
AUX
1
OO
1kHz OSC
PINK NOISE
+6
AUX
2
OO
+6
AUX
3
+6
4
AUX
2
OO
OO
+6
AUX
4
0
OO
0
OO
0
OO
OO
0
OO
OO
+6
AUX
5
20
30
30
EVEN
R
AUX
6
10
EVEN
R
MUTE
+6
PRE
AUX
2
OO
ODD
L
+6
+6
+6
10
L-R
1-2
PFL
L-R
1-2
10
3-4
SIG
L-R
2-TRK
+10
OO
+10
AUX
4
OO
+10
AFL
AUX
5
OO
+10
AFL
AUX
6
OO
AFL
+10
OO
+10
AFL
AFL
GRP/AUX 1-2
REVERSE
GRP/AUX 3-4
REVERSE
L-R/AUX 5-6
REVERSE
PEAK
PEAK
PEAK
PEAK
PEAK
AUX
3-4
+6
+6
+6
+6
+6
+6
AUX
5-6
SIG
SIG
SIG
SIG
SIG
SIG
L5
R6
OSC/NOISE
MONO OUT
L-R
L-R
ON
TALK
FOH
STAGE MONITOR
PEAK
PAN
MUTE
PEAK
PFL
10
PAN
L-R
C
PAN
L-R
PFL/AFL
PAN
WEDGE MONITOR
MUTE
MUTE
OO
MUTE
+10
MUTE
MUTE
EVEN
R
MUTE
SIG
8
0
AUX
3
AFL
PEAK
10
7
9
PEAK
SIG
3
2
STEREO
RETURN
AUX
1
AUX
1-2
0
OO
BAL
ODD
L
MONITOR
LEV 4 5
OO
MUTE
ODD
L
PFL/AFL
GRP
1-4
+6
PRE
C
BAL
20
OO
L-R
+6
PRE
C
10
OO
0
OO
+6
PAN
+6
AUX
4
+6
AUX
6
10
8
9
0
PRE
+6
AUX
6
OO
PRE
AUX
5
+6
PRE
+6
AUX
3
+6
AUX
4
+6
AUX
5
OO
-30
+6
AUX
3
STEREO
RETURN
1
OO
EQ IN
EQ IN
AUX
1
0
+15
0
60Hz
EQ IN
AUX
1
-15
LF
60Hz
-20
5
+15
0
LF
-16
10
L-R
3-4
250Hz
+15
0
LF
10
L-R
1-2
+15
-15
MF2
250Hz
-9
-12
+15
-15
-6
PFL
+15
2.5kHz
1kHz
MF2
-15
MF1
2.5kHz
35Hz
-3
12kHz
+15
250Hz
MUTE
PFL
-15
+3
ODD
MUTE
PFL
L-R
AFL
AFL
AFL
AFL
AFL
AFL
10
10
10
10
10
10
10
10
10
10
10
10
10
10
1-2
10
3-4
3-4
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
OO
OO
OO
OO
OO
OO
OO
OO
OO
STEREO
STEREO
AUX1
AUX2
AUX3
AUX4
AUX5
AUX6
13-14
15-16
23
MONITOR
TIP L
RING R
AUX
20
AUX
STEREO
RETURN
19
AUX
L/MONO
18
AUX
STEREO
RETURN
AUX
17
L/MONO
SYS-LINK
IN
L/MONO
AUX
13
STEREO
IN
STEREO
IN
16
14
GRP
MIC
INSERT R
L INSERT
INSERT
INSERT
INSERT
OUT
INSERT
INSERT
INSERT
INSERT
10
LINE
IN
LINE
IN
LINE
IN
LINE
IN
LINE
IN
INSERT
INSERT
INSERT
INSERT
INSERT
LINE
IN
LINE
IN
LINE
IN
LINE
IN
LINE
IN
12
MIC
11
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
MIC/LINE
IN
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
INSERT
SYS-LINK
OUT
OUT
INSERT
L/MONO
15
TALKBACK
OUT
10
SEND
OUT
OUT
OUT
GRP/AUX
REVERSE
CAUTION
OUT
AUX
100 - 240V~
EXTERNAL SUPPLY
ACTIVE
INTERNAL SUPPLY
ACTIVE
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE
SEE INSTALLATION INSTRUCTIONS BEFORE CONNECTING TO THE SUPPLY
DO NOT OBSTRUCT VENTILATION OPENINGS
NO USER SERVICEABLE PARTS INSIDE
SPECIFICATIONS
0 dBu = 0.775 Volts rms
HEADROOM:.............................................................. +21dB
MAX OUTPUT: .............. XLR +25dBu 2kohm max load
............................................JACK +21dBu 2kohm max load
METERS: L, R.peak reading 12 bar LED
Groups 1-4.peak reading 4 segment LED
Channelspeak reading 4 segment LED
PEAK LEDs: .............................Turn on 5dB before clipping
FREQUENCY RESPONSE referred to 1kHz @ +4dBu:
Any input to any output .....................20Hz to 30kHz +0/-1dB
DISTORTION: THD+Noise @ +14dBu 1kHz
Mic in to L-R output, 40dB gain .................................0.010%
Line in to L-R output, 0dB gain ..................................0.008%
CMRR
Mic in, 40dB gain @ 1kHz .......................................... >88dB
CONNECTIONS
INPUTS:
Mic in.............................. XLR......................... pin 2 hot, 3 cold, balanced .................... >2k Ohm ..........variable -60 to -20dBu
Line in ............................ XLR......................... pin 2 hot, 3 cold, balanced .................... >10k Ohm ........variable -30 to +10dBu
or TRS jack ................. tip hot, ring cold, balanced .................... >10k Ohm ........variable -30 to +10dBu
Stereo Ch Line in ........... TRS jack ................. tip hot, unbalanced ................................ >8k Ohm .........-20dBu min
Stereo Return ................ TRS jack ................. tip hot, unbalanced ................................ >6k Ohm ..........-10dBV min
2-Track Return ............... RCA PHONO .......... unbalanced ............................................ >10k Ohm ........-10dBV min
Insert Return .................. TRS jack ................. tip send, ring return, unbalanced ........... >6k Ohm ..........0dBu (chan), -2dBu (out)
OUTPUTS:
L-R, Group out ............... XLR......................... pin 2 hot, 3 cold, balanced .................... <75 Ohm..........+4dBu, +27dBu max
Direct out ....................... TRS jack ................. tip hot, impedance balanced ................. <75 Ohm..........0dBu
2-Track sends ................ RCA PHONO .......... unbalanced ............................................ <75 Ohm..........variable +21dBu max
Aux out.......................... TRS jack ................. tip hot, impedance balanced ................. <75 Ohm..........variable +21dBu max
Mono out ........................ XLR......................... pin 2 hot, 3 cold, balanced .................... <75 Ohm..........+4dBu, +27dBu max
Insert send ..................... TRS jack ................. tip send, ring return, unbalanced ........... <75 Ohm..........0dBu (chan), -2dBu (out)
Monitor out ..................... TRS jack ................. tip left, ring right, unbalanced ................ <75 Ohm..........variable +21dBu max
Phones out..................... TRS jack ................. tip left, ring right ..................................... for stereo headphones 30 to 600 Ohms
24
DIRECT OUT
SOURCE
PRE-FADE
POST-FADE
PP
+48V
ENABLE
POST-FADE
SWITCHED
PRE-FADE
PRE-MUTE
POST-MUTE
PRE EQ
POST EQ
MONO
L22 STEREO
AG3428
PP
+48V
ENABLE
LEFT
POST EQ
PRE-EQ
RIGHT
POST EQ
PRE-EQ
AUX 6
CUT LINKS
INSERT IC
SSM2142
LEFT
POST-MUTE
PRE MUTE
RIGHT
POST-MUTE
PRE MUTE
STEREO
LEFT
L22 LEFT
AG3426
AUX 5
CUT LINKS
INSERT IC
SSM2142
CONNECTOR
AUX 2/4
CUT LINKS
INSERT IC
SSM2142
AUX 1/3
CUT LINKS
INSERT IC
SSM2142
L22 GROUP
AG3425
GROUP
GROUP
For Aux out 1-4 balance option with jack
output tip = hot, ring = cold. Remove two
links and plug in balance driver IC.
25
48V
48V
48V
48V
48V
48V
48V
48V
48V
48V
10
48V
11
48V
12
48V
13
48V
14
48V
15
48V
16
30
PAD
PAD
-30dB
0
GAIN
-30dB
0
40
30
GAIN
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
60 30
GAIN
PAD
- 10 20
60 30
GAIN
60 30
20
50
MIC
GAIN
40
30
50
PAD
- 10 20
40
60dB
10
60 30
- 10 20
100Hz
0
HF
-15
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
+15
-15
15kHz
500Hz
10
10
+15
-15
15kHz
500Hz
-15
15kHz
500Hz
3kHz
MF1
OO
-15
15kHz
500Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
+15
-15
250Hz
HF
+15
-15
250Hz
-15
+15
250Hz
35Hz
35Hz
1kHz
0
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
35Hz
1kHz
0
MF2
+15
0
MF1
35Hz
1kHz
0
MF2
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
OO
-15
+15
0
OO
+6
AUX
3
OO
+6
AUX
5
+6
AUX
5
+6
AUX
6
0
OO
AUX
6
+6
0
OO
+6
PRE
C
PAN
EVEN
R
0
OO
EVEN
R
5
PFL
L-R
1-2
L-R
1-2
1
3-4
L-R
3-4
3-4
0
OO
EVEN
R
L-R
L-R
3-4
3-4
EVEN
R
L-R
3-4
EVEN
R
L-R
L-R
1-2
1
3-4
EVEN
R
5
PFL
L-R
3-4
PFL
L-R
1-2
1
3-4
EVEN
R
PFL
L-R
3-4
L-R
3-4
L-R
1-2
1
3-4
3-4
EVEN
R
AUX
5
0
OO
L-R
EVEN
R
ODD
L
3-4
EVEN
R
MUTE
PEAK
+6
10
SIG
10
SIG
5
PFL
L-R
1-2
1
MUTE
PEAK
5
PFL
+6
PRE
BAL
ODD
L
10
SIG
+6
AUX
6
+6
+6
OO
5
PFL
L-R
1-2
1
3-4
3-4
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
STEREO
STEREO
25-26
NOTES:
26
+6
BAL
1-2
1
PRE
MUTE
5
PFL
+6
AUX
4
PRE
0
OO
PEAK
10
SIG
OO
+6
AUX
6
+6
5
PFL
ODD
L
+6
OO
+6
MUTE
+6
1-2
1
EVEN
R
AUX
5
PRE
PEAK
OO
AUX
3
+6
OO
0
OO
PAN
ODD
L
10
SIG
1-2
1
EVEN
R
10
SIG
MUTE
+6
+6
PRE
PEAK
+6
PRE
+6
AUX
6
0
OO
AUX
2
+6
AUX
4
OO
0
OO
0
OO
PAN
ODD
L
MUTE
PEAK
PAN
ODD
L
10
SIG
+6
PRE
+6
AUX
5
+6
AUX
6
PRE
0
OO
0
OO
+6
10
SIG
MUTE
PEAK
1-2
1
EVEN
R
ODD
L
AUX
6
+6
AUX
5
+15
EQ IN
+6
AUX
3
OO
0
OO
PRE
+6
PRE
PAN
+6
+6
AUX
4
-15
AUX
1
+6
AUX
2
OO
0
OO
0
OO
0
OO
0
OO
+6
5
PFL
MUTE
PEAK
10
SIG
AUX
6
+6
AUX
5
+6
PRE
PAN
ODD
L
0
OO
0
OO
+6
5
PFL
MUTE
10
SIG
+6
PAN
ODD
L
AUX
6
PRE
PEAK
1-2
1
0
OO
+6
5
PFL
MUTE
10
SIG
+6
PAN
ODD
L
AUX
6
PRE
PEAK
1-2
1
0
OO
+6
5
PFL
+6
MUTE
PEAK
1-2
1
EVEN
R
AUX
6
PRE
PAN
ODD
L
10
SIG
5
PFL
0
OO
+6
10
SIG
MUTE
+6
+6
PAN
ODD
L
AUX
6
PRE
PEAK
1-2
1
MUTE
5
PFL
+6
PAN
EVEN
R
AUX
6
PRE
PEAK
1-2
1
ODD
L
10
SIG
5
PFL
0
OO
+6
10
SIG
+6
MUTE
PEAK
+6
10
SIG
EVEN
R
AUX
6
PRE
PAN
ODD
L
+6
MUTE
PEAK
+6
0
OO
PRE
PAN
ODD
L
MUTE
PEAK
AUX
6
+6
PRE
PAN
ODD
L
AUX
6
+6
+15
OO
+15
0
EQ IN
+6
AUX
3
+6
PRE
-15
AUX
1
+6
OO
AUX
4
-15
LF
60Hz
+15
AUX
2
+15
0
EQ IN
OO
OO
-15
+6
AUX
3
+6
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
OO
AUX
4
+6
AUX
5
+6
+15
+15
-15
MF2
250Hz
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
+6
AUX
5
+6
+15
OO
+15
0
EQ IN
OO
PRE
0
OO
-15
+6
AUX
3
OO
0
OO
-15
LF
60Hz
AUX
1
+6
AUX
2
+6
AUX
4
PRE
0
OO
+15
OO
+15
0
EQ IN
OO
OO
0
OO
PRE
-15
+6
AUX
3
+6
AUX
4
-15
LF
60Hz
AUX
1
+6
AUX
2
OO
0
OO
+15
OO
+15
0
EQ IN
+6
AUX
3
+6
OO
-15
AUX
1
+6
OO
AUX
4
0
OO
AUX
2
-15
LF
60Hz
EQ IN
AUX
1
+6
AUX
2
+15
0
60Hz
EQ IN
AUX
1
-15
LF
60Hz
+15
0
+15
-15
MF2
250Hz
60Hz
-15
MF1
2.5kHz
1kHz
0
MF2
MIC
LINE
0
HF
12kHz
2.5kHz
MF2
20
LINE
TO L-R
MIC
LINE
15kHz
MF1
12kHz
-15
OO
+15
3kHz
MF1
LINE
GAIN
20
LINE
TO L-R
+15
3kHz
MF1
LINE
GAIN
12kHz
+15
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
MF1
100Hz
0
HF
12kHz
3kHz
500Hz
100Hz
0
HF
12kHz
60dB
10
MIC TO TALK
60 30
0
100Hz
0
HF
12kHz
50
MIC
GAIN
50
PAD
- 10 20
40
-30dB
40
30
50
30
20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
- 10 20
PAD
-30dB
40
30
50
PAD
PAD
27-28
HF
HF
12kHz
48V
POWER
12kHz
-15
+15
-15
LAMP
+15
17
2-TRACK
48V
18
48V
19
48V
20
48V
21
48V
22
48V
23
48V
24
LF
LF
60Hz
PAD
-15
+15
AUX
1
-15
0
OO
OO
OO
+10
OO
RETURN
+10
REPLAY
TO
L-R
GAIN
GAIN
OO
GAIN
60 30
- 10 20
60 30
100Hz
+6
HF
MONITOR
- 10 20
60 30
60 30
60 30
60 30
GAIN
50
PAD
- 10 20
60 30
- 10 20
60 30
100Hz
0
HF
12kHz
40
30
50
100Hz
0
HF
12kHz
-30dB
40
30
PAD
100Hz
0
HF
12kHz
GAIN
50
- 10 20
PAD
-30dB
40
30
PAD
100Hz
0
HF
12kHz
GAIN
50
- 10 20
PAD
-30dB
40
30
PAD
100Hz
0
HF
12kHz
GAIN
50
- 10 20
PAD
-30dB
40
30
PAD
100Hz
0
HF
12kHz
GAIN
50
PAD
PAD
-30dB
40
30
50
PAD
PAD
-30dB
40
30
50
- 10 20
PAD
-30dB
40
30
PAD
+6
+6
BAL
OO
AUX
2
SEND
RECORD
+6
AUX
2
+15
AUX
1
PAD
-30dB
60Hz
100Hz
0
HF
12kHz
12kHz
+16
BAL
-15
+9
+15
-15
3kHz
+15
-15
3kHz
+15
-15
3kHz
+15
-15
3kHz
+15
-15
3kHz
+15
-15
3kHz
+15
-15
3kHz
+15
3kHz
+6
L
ODD
EVEN
+3
ODD
EVEN
MUTE
MUTE
PFL
PFL
10
10
500Hz
L-R
3-4
-9
-15
+15
10
20
20
30
30
OO
PFL/AFL
OO
AUX
2
+10
8
9
OO
+10
AUX
4
OO
+10
AFL
OO
AUX
6
+10
AFL
GRP/AUX 1-2
REVERSE
AUX
5
OO
AFL
+10
OO
GRP/AUX 3-4
REVERSE
L-R/AUX 5-6
REVERSE
PEAK
PEAK
PEAK
AUX
3-4
+6
+6
+6
+6
+6
+6
AUX
5-6
SIG
SIG
SIG
SIG
SIG
SIG
L5
R6
PAN
MUTE
L-R
C
PAN
MUTE
L-R
-15
+15
15kHz
500Hz
15kHz
MF1
-15
+15
-15
250Hz
35Hz
1kHz
500Hz
15kHz
MF1
+15
-15
250Hz
35Hz
1kHz
MF2
MUTE
AFL
MUTE
AFL
+15
-15
250Hz
35Hz
1kHz
MF2
-15
+15
0
LF
+15
250Hz
35Hz
1kHz
MF2
+15
-15
+15
0
LF
60Hz
-15
35Hz
1kHz
MF2
-15
+15
-15
+15
0
LF
60Hz
EQ IN
AUX
1
+6
1kHz
MF2
-15
+15
-15
+15
0
LF
60Hz
EQ IN
-15
+15
-15
+15
0
LF
60Hz
EQ IN
60Hz
-15
+15
EQ IN
-15
+15
EQ IN
EQ IN
0
OO
AUX
1
+6
AUX
2
+6
AUX
3
0
OO
0
OO
AUX
1
+6
AUX
2
+6
AUX
3
0
OO
0
OO
AUX
1
+6
AUX
2
+6
AUX
3
0
OO
0
OO
AUX
1
+6
AUX
2
+6
AUX
3
0
OO
0
OO
AUX
1
+6
AUX
2
+6
AUX
3
0
OO
0
OO
OO
0
OO
+6
AUX
4
+6
AUX
5
+6
AUX
5
+6
+6
+6
AUX
5
0
OO
+6
OO
+6
OO
+6
AUX
2
+6
AUX
3
AUX
5
AUX
3
+6
AUX
5
AUX
6
+6
AUX
5
+6
0
OO
AUX
5
0
OO
+6
OO
+6
AUX
6
+6
PRE
C
PRE
+6
AUX
6
+6
PAN
0
OO
0
OO
0
OO
AUX
4
PRE
+6
PRE
C
PAN
0
OO
0
OO
+6
PRE
C
PAN
+6
AUX
4
PRE
OO
OO
0
OO
+6
AUX
6
+6
PRE
C
PAN
+6
OO
0
OO
+6
AUX
4
PRE
+6
AUX
6
OO
0
OO
0
OO
+6
PRE
C
PAN
+6
AUX
4
PRE
OO
OO
0
OO
+6
AUX
6
+6
PRE
C
AUX
5
OO
0
OO
+6
AUX
4
PRE
+6
AUX
6
OO
0
OO
0
OO
+6
PAN
+10
+6
AUX
4
PRE
0
OO
OO
0
OO
PRE
OO
PRE
C
PAN
PRE
C
PAN
MUTE
AFL
AUX
2
+6
AUX
6
MUTE
AFL
+15
AUX
1
+6
EVEN
R
ODD
L
AFL
+15
0
EQ IN
OO
0
OO
OO
-15
LF
60Hz
-15
+6
AUX
3
WEDGE MONITOR
OO
AUX
2
PFL/AFL
PAN
AUX
4
MONO OUT
L-R
L-R
+15
0
+15
AUX
1
FOH
STAGE MONITOR
PEAK
-15
LF
OO
AFL
PEAK
PAN
500Hz
MF1
+10
AFL
PEAK
ON
15kHz
250Hz
35Hz
MF2
EQ IN
L-R
2-TRK
OSC/NOISE
TALK
+15
250Hz
60Hz
10
AUX
3
AFL
AUX
1-2
500Hz
MF1
OO
GRP
1-4
15kHz
STEREO
RETURN
AUX
1
+15
0
LF
-15
MONITOR
LEV 4 5
L-R
-15
1kHz
MF2
60Hz
8
9
10
500Hz
MF1
10
+15
35Hz
1kHz
MF2
15kHz
250Hz
35Hz
-30
STEREO
RETURN
-15
250Hz
-15
500Hz
MF1
-16
15kHz
-20
1kHz OSC
PINK NOISE
500Hz
MF1
-6
-12
L-R
1-2
15kHz
MF1
-3
EVEN
R
ODD
L
MUTE
AFL
PEAK
PEAK
+6
+6
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
AUX3
AUX4
AUX5
AUX6
PFL
L-R
1-2
AUX1
AUX2
SIG
5
PFL
L-R
1-2
1
3-4
25
SIG
5
PFL
L-R
1-2
1
3-4
SIG
26
PFL
L-R
1-2
1
3-4
27
SIG
28
SIG
5
PFL
L-R
1-2
1
3-4
10
10
SIG
10
MUTE
PEAK
+6
10
EVEN
R
ODD
L
MUTE
PEAK
+6
10
EVEN
R
ODD
L
MUTE
PEAK
+6
10
EVEN
R
ODD
L
MUTE
PEAK
+6
EVEN
R
ODD
L
MUTE
PEAK
+6
10
EVEN
R
ODD
L
MUTE
PEAK
+6
0
EVEN
R
ODD
L
MUTE
29
SIG
5
PFL
L-R
1-2
1
3-4
10
PFL
L-R
1-2
1
3-4
30
10
SIG
5
PFL
L-R
1-2
1
3-4
31
3-4
32
NOTES:
27
AUX 1-6
GRP 1-4
LEFT
RIGHT
P/AFL
SL
BLOCK DIAGRAM
L-R
=SYSLINK
OPTION
AUX1-2
4-BAND 2-SWEEP
EQUALISER
LINE IN
MONO
CHANNEL
x10, 14, 22 or 30
PEAK
+6dB
0dB
SIG
HF
TALKBACK SIGNAL
FROM STEREO INPUT
EQ IN
PAN
MUTE
+
2= +
L-R
3-4
MF2
L-R
LF
RING = RETURN
0dBu
LO-CUT
FILTER
PRE FADER
TIP = +
STEREO
RETURN
L/MONO
HF
MUTE
LF
AUX 1
+
POST-EQ
POST-MUTE
PRE-EQ
PRE-MUTE
SUM
AUX 2
AFL
PRE-FADE
POST FADER
RING = -
0dBu
BAL
1-2 (3-4)
TIP = SEND
2-BAND
EQUALISER
FADER
1-2
+48V
DIRECT
OUT
STEREO RETURN x2
PFL
MIC/LINE IN
ON
SELECT
PINK
NOISE
GEN
FADER
MF1
INSERT
DIM
PRESS
TO
TALK
GAIN
BAL
LEVEL
PFL
PAD
-30dBu
AUX3-4
AUX5-6
OSC/PINK NOISE
/TALKBACK
1KHz
OSCILLATOR
GRP1-4
AUX
BAL
AUX3
AUX1
AUX5
AUX 1
PRE-FADE
SWITCHED
POST-FADE
SL
POST-FADE
AUX MIX
GRP
GRP
OUT
GRP
AUX 2
AFL
AUX 3
GROUP/LEFT
AUX 4
PEAK
+6dB
0dB
SIG
FADER
SL
GROUP MIX
AUX
GROUP1
BAL
MUTE
-2dBu
POST
PRE
AUX 5
AUX
INSERT
LEFT
+4dBu
SUBGROUPING
(GROUP CCTS ONLY)
PAN
L-R
AUX 6
AUX
GROUP3
2=+
L POST
TO MONITOR
(L CCT ONLY)
POST
PRE
REV
1-2
GROUP/AUX REVERSE
TALKBACK SIGNAL
TO OSC/TALKBACK
AFL
AUX
SL
BAL
AUX2
AUX MIX
GAIN
PEAK
+6dB
0dB
SIG
MIC IN
2= +
STEREO
CHANNEL
AFL
GROUP/RIGHT
SL
+48V
GROUP MIX
MF1
L
R
EQ IN
BAL
MUTE
MF2
GROUP4
GRP
AUX
RIGHT
2=+
+4dBu
SUBGROUPING
(GROUP CCTS ONLY)
L-R
PAN
L-R
GRP
AUX
GROUP2
BAL
MUTE
-2dBu
GRP
AUX
INSERT
FADER
HF
MIC/
LINE
PEAK
+6dB
0dB
SIG
FADER
PFL
4-BAND
EQUALISER
OUT
x2
AUX6
AUX4
MIC TO TALK
ENABLE
(LAST STEREO ONLY)
REV
5-6
L-R
REV
3-4
SAME FOR
GROUP1-2, GROUP3-4, L-R
AUX1-2, AUX3-4, AUX5-6
1-2
POST
R POST
TO MONITOR
(R CCT ONLY)
3-4
LF
L POST-FADE
L/MONO
LINE
LEV
POST-EQ
POST-MUTE
PRE-EQ
PRE-MUTE
R POST-FADE
PRE
2-TRK SEND
SUM
+
SUM
AUX 1
L
AUX 2
AUX 3
P/AFL MIX
MONO
LR SUM
BAL
LEV
MONO OUT
SL
M OUT
PFL/AFL
AUX 4
P/AFL DC
POST
PRE
AUX 5
R
MONITOR METERS
REPLAY TO L-R
AUX 6
L-R/2TRK
2-TRK RETURN
POST
PRE
AUX 1-6
GRP 1-4
LEFT
RIGHT
P/AFL
LINE TO L-R
28
PFL/AFL
MONITOR
PHONES LEV
HEADPHONES
L
R