ALLEN&HEATH

GL2200
Dual Function Audio Mixing Console

USER GUIDE

PUBLICATION: AP3388
 LIMITED ONE YEAR WARRANTY
This product has been manufactured in the UK by ALLEN & HEATH and
is warranted to be free from defects in materials or workmanship for
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 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. 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.

These terms of warranty apply to UK sales. In other territories the terms

may vary according to legal requirements. Check with your ALLEN &
HEATH agent for any additional warranty which may apply.

GL2200 User Guide AP3388 Issue 5. Copyright © 2004 Allen & Heath Limited. All rights reserved

This product complies with the European Electromagnetic Compatibility

Directives 89/336/EEC & 92/31EEC and the European Low Voltage Directives
73/23/EEC & 93/68 EEC

MANUFACTURED IN ENGLAND BY: ALLEN&HEATH

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

GL2200 USER GUIDE 3

INTRODUCTION
The GL2200 continues ALLEN & HEATH’s commitment to provide high quality audio mixing consoles
engineered to meet the exacting requirements of today’s 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.

SERVICE AND TECHNICAL SUPPORT

Under normal conditions the GL2200 does not require user maintenance or internal calibration. Any
service work required should be carried out by qualified service personnel only.
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 product
range, assistance with your technical queries or simply to chat about audio matters. To help us
provide the most efficient service please keep a record of the console serial number, and date and
place of purchase to be quoted in any communication regarding this product.

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 GL2200 USER GUIDE

KEY FEATURES OF THE GL2200
The ALLEN & HEATH GL2200 offers the user the versatility to quickly adapt to the exacting demands
of live sound engineering today. The GL2200 is developed from the very successful GL2000 console,
which included mode switching to quickly convert the console from Front-of-House to On-stage
Monitor operation. In addition, the GL2200 includes 4 subgroups, 6 independent aux sends, stereo
mic/line channels, pink noise generator, 1kHz oscillator and lots more. It is built on the established
tradition of innovative British design and manufacture. The GL2200 is equally suited to home and
studio recording. Features include:

• FOH/stage-monitor dual functionality

• 4 groups, 6 auxes
• Groups, L, R and Mono outputs on balanced XLR
• 12, 16, 24 and 32 channel frames
• 2 stereo line channels with mic capability
• 2 stereo returns with mutes, faders, EQ and Aux sends
• Mutes on Groups and L-R
• Channel direct outs
• 2-track send and return
• 4-band EQ with swept mids and in/out switch
• Input metering on each channel
• Phantom Power 48V, switchable on each channel
• Inserts on all mono inputs
• Inserts on Groups (auxes) and L-R outs
• Comprehensive AFL/PFL monitoring
• Pink noise generator for speaker setup
• Oscillator for equipment line up
• Talkback facility
• High-performance internal power supply with universal mains input voltage
• Built-in combiner to add external backup power supply
• Console lamp connector
• Sys-linkTM expandability
• Rugged build quality

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 Sys-link buss expander, one kit per console
RPS11-3C 3U rack mount power supply for backup
002-225 RPS11 to GL2200 DC cable assembly

GL2200 USER GUIDE 5

CONNECTING POWER TO THE CONSOLE
Refer to the SAFETY WARNING on page 4 of this User Guide. Read and understand the warnings
and instructions printed on the rear panel of the console and printed here.

Ensure adequate ventilation around the console. Do not cover the

console or position it on soft furnishings during operation.

The console must be connected to 0V ground by either the a.c.

mains input cable or by the EXTERNAL DC IN cable.

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE

WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.

WARNING: DISCONNECT SUPPLY BEFORE CHANGING FUSE.

ATTENTION: COUPER L'ALIMENTATION AVANT DE CHANGER LE FUSIBLE.

WARNING: TO REDUC
100 - 240V~ T1A 250V 20mm SUPPLY VOLTAGE RANGE: SEE INSTA
EXTERNAL SUPPLY INTERNAL SUPPLY 100 - 240V.AC DO NOT OB
ACTIVE ACTIVE WARNING - THIS APPARATUS MUST BE EARTHED. 47-63Hz ~ 60W MAX 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

100 - 230V ±10% T 1A 250V 20mm

CAUTION: For continued protection against the risk of fire, replace

fuse only with the correct type and value.

The console power supply unit contains no user serviceable parts.

Do not remove the cover. Refer servicing to qualified service
personnel only.

6 GL2200 USER GUIDE

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

1 -16V 1.5A
2 Audio 0V
3 Chassis 0V
4 +16V 1.5A
5 +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.

In the event of an electrical storm, or large mains voltage

fluctuations, immediately switch off and disconnect all power to the
console.

EARTHING THE AUDIO SYSTEM

The console chassis is connected to mains earth via the power cable. Audio 0V is connected
internally to the chassis and therefore mains earth. In this way all signal returns and connector shields
are connected to mains earth at the console.

To ensure safety, do not remove the earth connection from the AC

mains plug or from EXTERNAL DC IN cable.

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.

GL2200 USER GUIDE 7

PLUGGING UP THE CABLES
The GL2200 uses professional grade 3-pin XLR, 1/4" TRS jack and RCA PHONO sockets.
Where possible use balanced connections to prevent noise and interference pickup especially
on long cable runs. Avoid running audio cables next to AC mains, computer or lighting cables,
near thyristor dimmer units or power supplies etc. The use of low impedance sources such as
good quality microphones of 200 ohms or less significantly reduces interference pickup. Many
problems can be avoided by taking time to check that all cables are correctly wired. Avoid
reversing + and - on balanced connections as this will result in out of phase signals (reverse
polarity) causing signal cancellation effects. This situation is particularly common in multi-
microphone mixing. Use professional quality cable and carefully soldered connections. The
following wiring convention is used:

XLR ¼” TRS jack

Pin 1 0V earth shield Tip + / hot / signal / left / send
Pin 2 + / hot / signal Ring - / cold / 0V / right / return
Pin 3 - / cold Sleeve 0V earth shield

CABLE WIRING

Tip
1

OUTPUT 3
2
Ring Sleeve CONSOLE
3-PIN XLR FEMALE PLUG
Sleeve

TWIN SCREENED CABLE CONNECTIONS

Ring
Tip

BALANCED
2

INPUT 3
1

¼" 3-POLE (STEREO) JACK PLUG

3-PIN XLR MALE PLUG

Tip
1

OUTPUT 3
2 Link
Sleeve
Sleeve

3-PIN XLR FEMALE PLUG

SINGLE SCREENED CABLE CONSOLE
Tip

UNBALANCED
CONNECTIONS
2

INPUT 3
1

¼" 2-POLE (MONO) JACK PLUG

3-PIN XLR MALE PLUG

Sleeve Ring

OUTPUT
Link Tip
CONSOLE
Sleeve

CONNECTIONS
Ring
Tip

SINGLE SCREENED CABLE

UNBALANCED

INPUT

RCA PHONO PLUG ¼" 3-POLE (STEREO) JACK 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.

Deselect input channel +48V when inputs are connected to non-phantom

powered, mic, line or unbalanced sources.

8 GL2200 USER GUIDE

 CONNECTING CHANNEL INPUTS
Both microphone and line sources such as keyboards, replay devices and effects processors
can be plugged into either the jack or XLR input for convenience. The channel accepts a wide
70dB range of source levels. The balanced 3-wire input provides the best immunity to
interference pickup on long cable runs.

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.

CHANNEL DIRECT OUTPUTS

The channel direct output taps the signal off post-fader (pre-fader if the internal link option is
changed) for connection to external processing or recording equipment. This is ideal for
multitrack recording during a live performance. Here each channel can be recorded on a
separate track for mixdown later. The output is impedance balanced on TRS jack. This means
that you get the benefit of interference immunity when connecting to outboard equipment with
balanced inputs. You can, of course, also connect to unbalanced equipment. The signal
operates at nominal 0dBu line level.

ADJUSTING THE LEVELS

For best performance it is important that the connected source signals are matched to the “normal
operating level” of the console. Similarly the console outputs should be correctly matched to the
operating levels of the connected amplifiers and destination equipment. If too high, the signal peaks
will be clipped resulting in a harsh distorted sound, and if too low, the signal-to-noise ratio is reduced
resulting in excessive background hiss.
For best results, operate the console with the meters averaging ‘0’ or just below and allowing the
loudest passages and occasional peaks into the ‘yellow’. Reduce the gain if the peak indicators flash
(red). The GL2200 provides +4dBu output level at the XLR outputs for a meter reading of 0VU. It is
advisable to adjust the power amplifier input gain or fit an attenuator pad if normal console operation
results in an output level too high for the connected amplifier. Normal operation should give rise to
fader levels around the ‘0’ mark.
The GL2200 has an advanced PFL (pre-fade listen) / AFL (after-fader listen) and channel metering
system to let you listen to and check the level of signals at different points in the signal path without
affecting the main outputs. Use the channel PFL switches to set up the input GAIN controls to read an
average ‘0’ (yellow LED). Signal activity is always shown on the channel meters regardless of fader
position. The green ‘SIG’ LED lights at -20dBu to indicate signal presence, the yellow ‘0’ LED
indicates normal level, and the red ‘PEAK’ LED warns of potential overload 5dB before clipping.

GL2200 USER GUIDE 9

FLIGHTCASING THE CONSOLE
If the console is to be regularly moved we recommend that it is installed in a foam-lined flightcase.
At all times avoid applying excessive force to any knobs, switches or connectors.
Dimensions for flightcasing the console are shown below:

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

Avoid storing or using the RPS11 in conditions of excessive heat or cold.

Position the RPS11 power supply away from the mixing console to avoid interference.

10 GL2200 USER GUIDE

MONO INPUT CHANNEL

48V The mono input channel is designed using a very high quality analogue signal path
1 Ø to ensure absolute sonic purity for microphone or line level sources.
PAD
-30dB
0 40
30
GAIN

MIC INPUTS Plug a microphone source into the XLR input. If you
50
PAD
- 10 20 60 30

100Hz
leave the jack input unplugged then the PAD (LINE) switch becomes a
0
30dB pad for the microphone. This lets you use the XLR input for high
HF
12kHz
output microphones, or for line level sources.
-15
3kHz
+15
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
500Hz 15kHz anything into the jack input, and that you press the PAD (LINE) switch.
MF1 0
If you use the TRS jack input make sure that you press the PAD (LINE)
-15 +15
switch. The jack input is only selected with this switch pressed.
250Hz

35Hz 1kHz
MF2 0

48V selects +48V to the XLR input for microphones that require phantom power.
-15
0
+15
IMPORTANT NOTE : Switch off channel +48V when non-phantom powered
LF
60Hz
mic, line or unbalanced sources are to be used with the inputs.
-15 +15

EQ IN

AUX
φ reverses the POLARITY of the input source to correct the problems often
1
0 encountered in microphone placement, or due to incorrectly wired cables (pin 3
OO +6 hot instead of pin 2). May also helpful in reducing acoustic feedback between
AUX
2
0
closely positioned loudspeakers and mics in live sound mixing.
OO +6 PAD (LINE) selects the line level jack input when pressed or becomes a 30dB pad
AUX
3
0
for the XLR input when no jack is plugged in. The XLR is normalled through the
OO +6
unplugged jack contacts. See MIC/LINE description above.
AUX
4
0
GAIN matches the level of the input source to the normal operating level of the
OO +6
console. Adjust this to read an average ‘0dB’ on the channel meter (yellow LED).
PRE Use the PFL system to listen to the signal and fine tune the gain.
AUX
5
0

OO +6 100Hz 18dB/Octave lo-cut filter removes low frequency noise such as microphone
AUX
6
0
pops, proximity effect, stage noise and transport rumble after the pre-amp stage. It
OO +6
can also be used to clean up sounds that do not have much bass content, such as
PRE vocals and cymbals. The lo-cut filter is independent of the equaliser.
C
PAN

ODD EVEN
The 4-band EQ lets you adjust the tonal quality of the sound. The HF (treble) and
L R

MUTE
LF (bass) bands have a shelving response, which means that all frequencies
PEAK
beyond the corner frequency are affected. Used with the 100Hz lo-cut filter you
+6 can tailor the low frequency response exactly as you require. The centre flat
0

SIG
10 position is detented for quick resetting.
5
AMPL(dBr) vs FREQ(Hz)
PFL
0 10.00

L-R
5 0.0

1-2
-10.00
10
3-4
-20.00

-30.00
20

-40.00

30
-50.00

OO -60.00
10 100 1k 10k 20k

100 Hz lo-cut filter HF and LF EQ

GL2200 USER GUIDE 11

 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
48V
microphones or for tuning out troublesome feedback. The mid bands are
1 Ø
overlapping with a Q of 1.6 and can boost or cut in excess of +/- 15dB. The centre
PAD
-30dB
flat position is detented for quick resetting.
0 40
30
GAIN
50
PAD
- 10 20 60 30

100Hz

0
HF
12kHz

-15 +15
3kHz

500Hz 15kHz
MF1 0

-15 +15
250Hz

35Hz 1kHz
MF2 0

-15 +15

MF1 EQ
0
LF
60Hz MF2 EQ
-15 +15

EQ IN
Press EQ IN to switch the EQ into the signal path.
AUX
6 AUX SENDS provide feeds for foldback monitors and effects. Aux 1-4 and Aux
1
0 5-6 may be set to pre or post-fader using the PRE switch.
AUX
OO +6
Monitor sends to the performers are usually set pre-fade (PRE), although some
2
0 sources such as radio mics are often set post-fade to avoid ‘dressing room’ talk
OO +6 spill.
AUX
3
0 Effects sends to external signal processing equipment such as reverb and delay
OO +6 effects units, are usually set post-fade so that the amount of effect (wet signal) is
AUX
4
0
always relative to the position of the fader (dry signal).
OO +6 Adjust the amount of effect required for each channel using its AUX control.
PRE

AUX
The effect is returned to the mix through another channel, usually the stereo
5
0 return described later in this guide.
AUX
OO +6
POST-FADE sends are post-EQ, post-mute. PRE-FADE sends are set post-EQ,
6
0 post-mute as standard. Internal link options are available to change the source of
OO +6 the pre-fade sends. Refer to the internal link options section in this user guide.
PRE

C
Note; AUX 1-6 feed XLR outputs with inserts when the GRP/AUX REVERSE
PAN
switches are pressed in the master section.
ODD
L R
EVEN PAN positions the channel signal within the stereo image or between L-R and the
MUTE groups when the routing switches are selected. The centre position is detented for
PEAK quick resetting.
+6

0
10
MUTE switches the signal off when pressed regardless of fader position. Muted
SIG
channels are indicated by red LEDs. The channel meter continues to indicate pre-
5
fader channel activity.
PFL
0 A 4 LED CHANNEL METER shows signal activity at all times. The green SIG
L-R LED indicates signals greater than -20dBu, yellow ‘0’ and ‘+6’ represents normal
5

1-2
operating level, and red PEAK warns of potential overload 5dB before clipping.
10
Set the channel signal so that the meter averages between ‘0’ and ‘+6’. Back the
3-4
gain off if the red peak LED flashes.
Pressing PFL lets you listen to the channel pre-fader signal on headphones
20
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
30
at any time.
L-R, 1-2, 3-4 routing switches feed the channel signal to the L-R mix and groups
OO
1-2, 3-4. Use the pan control to route to individual groups, i.e. 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.

12 GL2200 USER GUIDE

STEREO INPUT CHANNEL

48V Two stereo input channels are included as standard. Each features a 4-band
12 Ø EQ, 6 aux sends and group routing. Use this channel for stereo sources such
20
30
40 as keyboards and two track players, or for returning additional effects
MIC 50 processors to the mix and monitors. A mic input is included so that you can
GAIN
use the channel for additional mics when needed. The stereo line input can still
10 60dB

MIC TO TALK

0
10 be routed to the mix while using the channel mic input.
LINE The stereo inputs are on separate TRS jacks. For mono line sources plug into
GAIN OO

LINE
20
the L/MONO jack socket only. For microphone sources plug into the XLR.
TO L-R

MIC
48V selects +48V DC to the XLR input for microphones that require phantom
0
LINE MIC TO TALK
ENABLE power.
HF
IMPORTANT NOTE : Switch off channel +48V when non-phantom
12kHz

-15
0
+15
powered or unbalanced sources are connected to the XLR input.
MF1

φ
2.5kHz

-15 +15
reverses the POLARITY of the input source to correct problems often
MF2
250Hz
0
encountered in microphone placement, or due to incorrectly wired cables (pin 3
hot instead of pin 2). May also be helpful in reducing acoustic feedback
between closely positioned loudspeakers and mics in live sound mixing.
-15 +15
0
LF
60Hz

GAIN controls for the MIC and LINE inputs let you adjust each source
-15 +15

EQ IN
independently.
AUX
LINE TO L-R routes the stereo line source direct to the L-R mix. In this way
1
0 both the mic and stereo line inputs may be used at the same time. The mic
OO +6 can be routed through the stereo channel while the line input becomes an
AUX
2
0
independent source or return to the LR mix.
OO +6 MIC/LINE selects either the mic XLR or the stereo line jack inputs to the
AUX
3
0
channel. When selecting LINE on the second stereo input channel, the MIC
OO +6 input section is available as the source for talkback. A green LED indicator
AUX
4
0
illuminates to confirm this. The channel can be used with the stereo line input
OO +6
in the normal way while the mic is independently used for talkback.
PRE

AUX
5
0
The 4-band stereo EQ lets you adjust the tonal quality of the sound. The HF
OO +6
(treble) and LF (bass) bands have a shelving response, which means that all
AUX
6 frequencies beyond the corner frequency are affected. The 2 mid frequencies
0

OO +6
MF1 and MF2 provide optimum control over boomy or boxy sounds (250Hz),
PRE and can add bite or reduce harshness to keyboards, vocals etc. (2.5kHz). The
BAL
C centre flat position is detented for quick resetting.

ODD EVEN

6 AUX SENDS provide feeds for foldback monitors and effects. Aux 1-4 and
L R

MUTE

PEAK
Aux 5-6 may be set to pre or post-fader using the PRE switch. The left and
+6 right stereo signals are summed to provide aux feeds in mono.
0

SIG
10
Monitor sends to the performers are usually set pre-fade (PRE), although
5 some sources such as radio mics are often set post-fade to avoid ‘dressing
PFL room’ talk spill.
0

L-R
Effects sends to external signal processing equipment such as reverb and
5
delay effects units, are usually set post-fade so that the amount of effect (wet
1-2
signal) is always relative to the position of the fader (dry signal).
10
3-4
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
20
return described later in this guide.
POST-FADE sends are post-EQ, post-mute. PRE-FADE sends are set post-
30 EQ, 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
OO
user guide.
STEREO
15-16
Note; AUX 1-6 feed XLR outputs with inserts when the GRP/AUX
REVERSE switches are pressed in the master section.

GL2200 USER GUIDE 13

 BAL positions the channel signal within the stereo image or between L-R and
48V
the groups when the routing switches are selected. The centre position is
12 Ø
30
detented for quick resetting.
20 40

MIC 50
MUTE switches the signal off when pressed regardless of fader position.
GAIN 10

MIC TO TALK
60dB
Muted channels are indicated by red LEDs. The meter continues to indicate
10
pre-fader channel activity.
0
A 4 LED CHANNEL METER shows signal activity. The green SIG LED
LINE
GAIN OO 20 indicates signals greater than -20dBu, yellow ‘0’ and ‘+6’ represents normal
LINE
TO L-R
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
MIC
the gain off if the red peak LED flashes.
LINE
Pressing PFL lets you listen to the channel pre-fader signal on headphones
MIC TO TALK
ENABLE
0
HF
12kHz
without interrupting the main console outputs. The signal level is shown on the
-15
0
+15
L-R bargraph meters. In this way each sound can be correctly lined up and
MF1
2.5kHz checked at any time.
-15
0
+15
L-R, 1-2, 3-4 routing switches feed the channel signal to L-R mix and groups
MF2
250Hz
1-2, 3-4. Use the pan control to route to individual groups, ie left to route to L,
-15 +15 1, 3 and right to route to R, 2, 4. In this way subgroups may be set up in mono
0
LF
60Hz or stereo to feed the main L-R mix.
-15 +15 A 100mm FADER provides +10dB boost above the normal ‘0’ operating level.
EQ IN
All post-fade aux send levels are dependent on the level of the fader.
AUX
1
0
TALKBACK SIGNAL
OO +6 TO OSC/TALKBACK
AUX
2
0

OO +6

AUX
3
0
STEREO
OO +6 MIC TO TALK PEAK
AUX GAIN
ENABLE
(LAST STEREO ONLY) +6dB CHANNEL x2
4 0dB
0
MIC IN SIG
OO +6 2= + PFL
+ 4-BAND
PRE EQUALISER
FADER
AUX HF
5 +48V
0
MIC/ MF1
OO +6 LINE EQ IN MUTE BAL L-R
L
AUX + 1-2
6 R MF2
0 POST 3-4

OO +6
LF
PRE

C
BAL

POST-EQ POST-MUTE
PRE
ODD EVEN
L R PRE-EQ PRE-MUTE
MUTE L/MONO
LINE SUM
LEV +
PEAK SUM

+6 + INTERNAL AUX LINK OPTIONS

R POST-FADE AUX 1
0
10 SWITCHED
SIG PRE-FADE
AUX 2
5
AUX 3
PFL
0
AUX 4
L-R
5

1-2 POST
PRE
10 AUX 5
3-4

AUX 6

20 POST
PRE

30
LINE TO L-R

OO
P/AFL
GRP 1-4
LEFT
RIGHT
AUX 1-6

STEREO
15-16

The stereo input diagram showing the

talkback and stereo line signal routing.

14 GL2200 USER GUIDE

STEREO RETURNS

HF
12kHz
Two stereo return inputs are provided with 2-band EQ, sends to auxes 1 & 2 and
-15 +15
routing to L-R mix or groups 1-2/3-4. These are normally used to return the effects
0 (‘wet’) signal, usually from a stereo device, to the mix. They can also be used for
LF
60Hz additional line inputs to the mix.
-15 +15
A 2 band EQ provides HF and LF control with 15dB cut and boost at 12kHz and
AUX
1
0
80Hz respectively. This is often used to remove unwanted high or low frequency
OO +6
noise from effects devices.
AUX
2
0
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
OO +6

BAL using up valuable channel inputs.

The BAL control adjusts the balance between left and right signals, or can be used
L
ODD EVEN
R
as a pan control to route the signal to one side only by rotating fully.
MUTE
MUTE switches the signal off when pressed regardless of fader position. Muted
PFL 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
L-R
10
without interrupting the main console outputs. The signal level is shown on the L-R
1-2
5 bargraph meters. In this way each sound can be correctly lined up and checked at
0 any time.
5
L-R/1-2 (3-4) ROUTING SWITCHES - In the up position the signal is routed to the
10 main L-R mix but may be returned to the corresponding pairs of subgroups for
group effects (1-2 or 3-4).
20
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 AUX AUX AUX AUX AUX

1 0 2 0 3 0 4 0 5 0 6 0

OO +10 OO +10 OO +10 OO +10 OO +10 OO +10

AFL AFL AFL AFL AFL AFL

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

REVERSE REVERSE REVERSE 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

GL2200 USER GUIDE 15

GROUP OUTPUTS

GRP/AUX 1-2
GROUPS
REVERSE

PEAK PEAK Group outputs are controlled by 100mm travel faders which offer a
+6 +6 further 10dB boost above the normal ‘0’ dB operating level.
0 0

SIG SIG
MUTE switches the group signal off when pressed regardless of fader
1 2
position. Muted channels are indicated by red LEDs.
AFL (After Fade Listen) routes the post fader signal to the console
L-R L-R
meters and headphone monitoring to allow checks for sound quality and
C C mix level. The AFL signal is sourced before the MUTE switch allowing
PAN PAN
the signal to be checked even when the group is muted.
Each group has a 4 segment LED peak reading meter providing signal
L R L R
presence indication and peak warning which illuminates approximately
MUTE MUTE
5dB before clipping. Meter activity is interrupted when a group is muted.

AFL AFL

1 2 SUB GROUPING
Sometimes it is necessary to control more than one channel
10 10
simultaneously, in the case of a drum kit or a group of backing vocalists
for example.
5 5
Route the relevant channels to groups instead of L-R, using the channel
0 0 routing switches and the pan controls.
PAN control positions the signal in the stereo image with the L-R switch
5 5 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.
10 10 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.

20 20
AFL
BAL OUT OPTION

SL
AUX BAL
AUX1 AUX3 AUX5
- +
30 30
AUX MIX OUT GRP GRP GRP

AFL GROUP/LEFT PEAK

+6dB
OO OO
0dB
FADER SIG
AUX AUX AUX
SL INSERT
BAL GROUP1 GROUP3 LEFT
-2dBu MUTE 2=+
AUX1 AUX2 +
-
GROUP MIX SUBGROUPING +4dBu
(GROUP CCTS ONLY)
PAN L-R

L POST
TO MONITOR
(L CCT ONLY)

REV REV REV

GROUP/AUX REVERSE 1-2 3-4 5-6
L-R
SAME FOR
GROUP1-2, GROUP3-4, L-R
AUX1-2, AUX3-4, AUX5-6
AFL
BAL OUT OPTION

SL AUX BAL
AUX2 AUX4 AUX6
- +
AUX MIX OUT GRP GRP GRP

AFL GROUP/RIGHT PEAK

+6dB
0dB
FADER SIG AUX AUX AUX
SL INSERT
BAL GROUP2 GROUP4 RIGHT
-2dBu MUTE 2=+
- +
GROUP MIX SUBGROUPING +4dBu
(GROUP CCTS ONLY)
PAN L-R

R POST
TO MONITOR
(R CCT ONLY)
P/AFL
GRP 1-4
LEFT
RIGHT
AUX 1-6

Group / Aux diagram

16 GL2200 USER GUIDE

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.

6 5 4 3 2 1
Group Outputs
1
1 2 3 4 L R Groups
2

3
Press
Aux 4
1-2 3-4 5-6 / L-R
GRP/AUX REVERSE
Sends switches.
5
Aux Inserts
6
3 1

PAN
R L 4 2
Aux Outputs

Channel
Routing
1 2 3 4 5 6
L-R
1-2
3-4

Aux Masters
INPUT
CHANNEL
1 2 3 4 5 6

Aux and Groups reversed

GL2200 USER GUIDE 17

MASTER & MONITOR
LAMP

Plug in a standard 12V “gooseneck” lamp to provide illumination of the

control panel. This should be a BNC connector type with a current
POWER

LAMP
2-TRACK

0 0
consumption of no more than 350mA.

SEND
RECORD
OO +10 OO +10 RETURN 2-TRACK RECORD AND REPLAY
REPLAY
TO
L-R
Individual RCA phono sockets are provided for connecting a 2-track
stereo recorder such as a cassette or DAT machine. Connect the
L MONITOR R
recorder input (REC) connectors to the console SEND sockets and the
+16
+9 recorder output (PLAY) connectors to the RETURN sockets
+6
+3 Separate SEND and RETURN level controls adjust the signal to the
0
-3
required line level and sensitivity. The console can work with both high
-6 (+4dBu) and low (-10dBV) level equipment.
-9
-12 Alternatively the RETURN inputs may be used for stereo intermission
-16
-20
replay from a CD or similar to the main mix by pressing REPLAY TO L-
-30 R. An LED warns that replay is selected.
The SEND may be used for recording or broadcasting the performance
PFL/AFL
in stereo, or to feed an alternative set of speakers, or drive an induction
loop hearing aid system. The send outputs are post L-R faders as
MONITOR
standard.
LEV 4 5 6
3 7
2 8

PHONES MONITOR AND BARGRAPH METERS

1 9
0 10

L-R
2-TRK

Use stereo headphones with a nominal impedance of 30 to 600 ohms.

AUX
5 0
AUX
6 0 Adjust the LEV control for a comfortable listening level. The phones and
OO +10 OO +10
the 12 segment bargraph normally meter the post fade L-R mix or the
AFL AFL
two track return depending on the position of the L-R/2TRK switch.
Pressing any AFL/PFL button on the console will override the monitor
with the selected AFL/PFL signal. A large red LED located below the
L-R/AUX 5-6 FOH
REVERSE STAGE MONITOR

PEAK

+6
PEAK

+6
meters indicates a PFL or AFL selection.
0 0

SIG SIG
MONO OUTPUT
L 5 R6

MONO OUT
PFL/AFL
The MONO OUT / AFL/PFL switch sources the signal from either a
M
WEDGE MONITOR

0
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
OO +10
loudspeaker, mono recording or broadcast feed. When AFL/PFL is
MUTE MUTE
selected, you can feed a stage monitor engineer’s listen wedge.
AFL AFL This switch is recessed to avoid accidental operation. Use a pointed
L R object or pen tip to operate.
10 10

5 5
MAIN L-R OUTPUTS
0 0

MUTE switches the main mix signal off when pressed regardless of
5 5
fader position. Muted outputs are indicated by red LEDs.
10 10
AFL (After Fade Listen) routes the post fader mix signal to the console
meters and headphone monitoring to allow checks for sound quality and
mix level. The AFL signal is sourced before the MUTE switch allowing
20 20
the signal to be checked even when the mix signal is muted.
L-R FADERS - Individual 100mm faders adjust the main L-R mix level
30 30 with +10dB boost available above the nominal ‘0’ position. For best
performance the faders should be operated around the ‘0’ position for
OO OO
normal ‘loud’ level. If you find yourself operating significantly below ‘0’
AUX5 AUX6
then the amplifier or recorder input is too sensitive for the console +4dBu
output. Simply turn down the amplifier or recorder level trim. If none is
available then insert an attenuator pad between the console and
connected equipment.

18 GL2200 USER GUIDE

OSCILLATOR/PINK NOISE & TALKBACK
The GL2200 oscillator section provides for two modes of operation:

1kHz Tone Mode

A 1kHz sinewave is provided for setting up input levels on external devices, such as recording
equipment, FX processors and so on.

Pink Noise Mode

A ‘pink noise’ signal, can be used to check the phase and overall frequency response of a
loudspeaker or an array of loudspeakers or for analysing the acoustics of an auditorium. Pink noise
produces equal sound energy per octave over the audio band. It has a “mellow, balanced” sound to
the human ear compared with white noise, which sounds “brilliant and hissy” due to additional energy
at high frequencies.
OSCILLATOR

1kHz/Pink Noise – Selects between the two signal types outlined above.
The level control allows adjustment from –20dBu to +20dBu.
1kHz OSC
PINK NOISE When the TALK switch is pressed, the level of the oscillator/pink noise is reduced by
12dB.
4 5 6
3 7 L-R, GRP 1-4, AUX 1-2, AUX 3-4, AUX 5-6 routing switches assign the oscillator/pink
2 8
noise and talkback to the required mix busses.
1 9
0 10 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

GRP WARNING! – The oscillator/pink noise facility on the GL2200 is a powerful tool
1-4 for audio system checking and setup. However, the operator should ensure that
the ON switch is not selected during performances in order to avoid interruption
AUX
of the show and possible speaker damage by accidentally routing the oscillator
1-2 to the outputs.
AUX
3-4

AUX
TALKBACK
5-6
The talkback input is connected into the Mic input of the SECOND STEREO INPUT
OSC/NOISE CHANNEL. By selecting LINE, the signal is fed to the routing switches in the
ON oscillator/pink noise section and talkback is enabled when the momentary TALK
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.
GRP 1-4
AUX 1-6

RIGHT
P/AFL
LEFT

L-R
1KHz OSC/PINK NOISE
GRP1-4 OSCILLATOR /TALKBACK
AUX1-2 LEVEL
+ DIM SELECT ON
AUX3-4

AUX5-6
PINK
PRESS NOISE
TO GEN
TALK
TALKBACK SIGNAL
FROM STEREO INPUT

Oscillator / Pink noise generator and talkback section.

GL2200 USER GUIDE 19

FRONT OF HOUSE

This example shows the 4 groups,

L - R and Mono outputs feeding a
7-stack FOH amplification system.
MONO
1 The groups provide independent
2
control of the additional left and
right loudspeaker stacks or may
be used for zone feeds or for
MONO subgrouping to the L-R mix.
4 3
GROUPS 1 & 2

L GROUPS 3 & 4 R
INSERTS
LR
5 FOLDBACK 6 The inserts on the
channels and outputs may
pre-fade aux sends be used for outboard
effects and signal
returns
inputs processing devices such
as compressors, limiters
EFFECTS
and graphic equalisers.
Post fader aux sends

returns
MULTITRACK RECORDER SIGNAL
PROCESSOR
CD PLAYER playback (compressor)
EFFECTS

Post fader aux sends

2 TRACK RECORDER
stereo chans insert
record

L
2-TRACK
STEREO STEREO L/MONO L/MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MONITOR RETURN RETURN RETURN
15 13 10 9 8 7 6 5 4 3 2 1
STEREO STEREO
IN IN
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
16 14
inserts
IN IN IN IN IN IN IN IN IN IN
6 5 4 3 2 1 R R
MIC
12 MIC
11 MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE

R
IN IN IN IN IN IN IN IN IN IN

INSERT R L INSERT INSERT INSERT INSERT INSERT

GRAPHIC EQUALISERS
TALKBACK

M SEND 3 1 DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
10 9 8 7 6 5 4 3 2 1

R L
4 2

direct outs
GRAPHIC EQUALISERS
MULTITRACK RECORDING
Graphic equalisers are used to
compensate for adverse room Connect the inputs of the multitrack to the
acoustics. These devices help channel direct out sockets to record each
reduce acoustic feedback and channel on a separate track for mix down later.
enhance the clarity of the
sound.

2-TRACK RECORDING AND

INTERMISSION REPLAY
Use the console 2-track send and return
sockets for connecting a cassette or
DAT recorder and a CD player. Connect
the CD player to the console two track
return sockets for intermission replay.
This does not affect the recording
process.
AUX MASTERS
AUX These switches are recessed
POST
to avoid accidental operation.
AUX SENDS Set using a pen tip or pointed
PRE object.
Select aux 1-4 post-fade to access 4
effects processing devices. Use the Set the AUX REVERSE
stereo returns and stereo inputs to add switches to the up position for
the effects to L-R and mono mix. conventional aux/group
Select aux 5-6 pre-fader for foldback operation
monitor sends. Set the LR SUM MONO
switch to up for mono out
(L+R sum)

20 GL2200 USER GUIDE

 STAGE MONITOR

STAGE MONITORS
1 6

2 5

3 4

mic AMPLIFIERS
splitter

GRAPHIC GRAPHIC EQUALISERS

EQUALISERS
inserts R Graphic equalisers plugged into the console inserts are
L an invaluable aid to reducing on-stage acoustic
4 feedback and enhancing the clarity of the monitors.
Using AFL allows the stage engineer to check the
3
operation of the equalisers in the listen wedge monitor.
2 It is best to use the same type of loudspeaker for the
1 engineer's monitor as those used on stage.

2-TRACK
STEREO STEREO L/MONO L/MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MONITOR RETURN RETURN RETURN
15 13 10 9 8 7 6 5 4 3 2 1
STEREO STEREO
IN IN
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
16 14 IN IN IN IN IN IN IN IN IN IN
6 5 4 3 2 1
to FOH
R R
MIC
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

console INSERT R L INSERT INSERT INSERT INSERT INSERT

TALKBACK

M SEND
3 1 DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
10 9 8 7 6 5 4 3 2 1

R L
4 2

ENGINEER'S WEDGE MONITOR

SIGNAL
PROCESSOR Set up the WEDGE MIX by
TALKBACK selecting one or a combination of
Selecting the GRP 1-4 and L-R the groups/L-R AFL switches to
switches in the OSC/NOISE listen to the desired monitor
section enables talkback to the outputs. These are post insert and
performers using the stage therefore post graphic EQ and
monitors. post fader for accurate monitoring.
Pressing any PFL or AFL switch
allows channel set up and signal
checking.

This example shows the 6 aux

sends routed through the main
groups and L-R outputs to provide
6 independent stage monitor
mixes with metering, MUTE
switches, inserts and balanced
XLR connectors.
The AUX/GROUP reverse
switches reroute the group and L-
R mix to the aux jacks outputs for These switches are recessed to
additional monitoring or effect AUX avoid accidental operation. Set
sends or as independent submix PRE using a pen tip or pointed object.
facilities. For example, aux 5 and Set the AUX REVERSE switch to
6 jack outputs may provide a PRE the down position (below panel) to
seperate stereo mix output from route the aux mix through the
the channel L-R routing switches groups and L-R XLR outputs for
and the additional 4 stereo return stage monitor level control with
line inputs. fader.
Use the groups to add effects Set LR SUM MONO switch to down
such as delay, reverb or echo to (below panel) for engineer's listen
the stage monitors. wedge following PFL/AFL.

GL2200 USER GUIDE 21

 DUAL MODE

L R MULTITRACK RECORDING
MONO 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
MONO record each channel on a separate track for mix
3 4 down later.
LR

STAGE MONITOR
pre-fade aux sends
1 AUX 3 & 4 2
STAGE MONITOR
pre-fade aux sends
AUX 1 & 2

MULTITRACK RECORDER

EFFECTS
aux 6
COMPRESSORS/LIMITERS returns

These are used to prevent Post fader aux sends

excessive peaks overloading the aux 5

amplification system, for returns

SIGNAL
example in club installations GRAPHIC
PROCESSOR
(compressor)
subject to sound level control. EQUALISERS
inserts 4
3
2 insert
1

L
2-TRACK
STEREO STEREO L/MONO L/MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MONITOR RETURN RETURN RETURN
15 13 10 9 8 7 6 5 4 3 2 1
STEREO STEREO
IN IN
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
16 14 IN IN IN IN IN IN IN IN IN IN
6 5 4 3 2 1
inserts
R R
MIC
12 MIC
11 MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE

R
IN IN IN IN IN IN IN IN IN IN

INSERT R L INSERT INSERT INSERT INSERT INSERT

COMPRESSOR / LIMITER
TALKBACK

M SEND 3 1 DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
10 9 8 7 6 5 4 3 2 1

R L
4 2

groups 1 & 2 direct outs 1-6

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.

This example shows the

console configured to control
a Left, Right and Centre Front
of House system with 4 full
feature stage monitor mixes.
Stage monitor sends aux 1-4
are set pre-fade so that the These switches are recessed
signal level is not affected by aux 1- 4 to avoid accidental operation.
the fader position and the Set using a pen tip or pointed
FOH mix. L- R object.
AUX
Aux 5-6 are set post-fade to PRE Set the AUX REVERSE switch
access two effects devices to the down position (below
whose outputs are added to POST
panel) to route aux mixes 1-4
the L-R mix via stereo returns through groups 1-4. Set L-R
1 and 2. Alternatively, these switch in the up position for
may be connected to the conventional operation.
stereo channels. Set LR SUM MONO switch to
The channel and output up for mono out (L+R sum).
inserts may be used for
outboard effects and signal
processors such as
compressors, limiters and
graphic equalisers.

22 GL2200 USER GUIDE

FRONT PANEL LAYOUT

48V 48V 48V HF HF POWER

12kHz 12kHz

10 Ø 11 Ø 12 Ø LAMP
-15 +15 -15 +15 2-TRACK
30 30 0 0
PAD 20 40 20 40 0 0
-30dB LF LF
60Hz 60Hz
0 40 MIC 50 MIC 50
30
GAIN GAIN 10 60dB GAIN 10 60dB -15 +15 -15 +15 SEND RETURN
OO +10 OO +10
50 RECORD
MIC TO TALK AUX AUX
PAD REPLAY
1 1 TO
- 10 20 60 30 0 0
10 10 L-R
0 0
100Hz OO +6 OO +6
LINE LINE AUX AUX
HF 0 GAIN OO 20
GAIN OO 20
2 2
12kHz
0 0
L MONITOR R
LINE LINE
TO L-R TO L-R OO +6 OO +6
+16
-15 +15 BAL BAL
3kHz
+9
+6
MIC MIC L R L R +3
ODD EVEN ODD EVEN
500Hz 15kHz
LINE LINE MIC TO TALK
0
ENABLE
MF1 0 0 0 MUTE MUTE
HF HF -3
12kHz 12kHz
-6
PFL PFL
-9
-15 +15 -15 +15 -15 +15
250Hz 0 0 -12
MF1 MF1
2.5kHz 2.5kHz 10 10 -16
L-R L-R
1-2 3-4 -20
35Hz 1kHz -15 +15 -15 +15 5 5 -30
MF2 0 0 0
MF2 MF2
250Hz 250Hz 0 0

5 5
-15 +15 -15 +15 -15 +15
0 0 0 PFL/AFL
LF LF LF 10 10
60Hz 60Hz 60Hz

-15 +15 -15 +15 -15 +15 20 20

EQ IN EQ IN EQ IN MONITOR
LEV 4 5 6
30 30
3 7
AUX AUX AUX 1kHz OSC 2 8
OO OO
1 1 1 PINK NOISE
0 0 0 1 9
STEREO STEREO 0 10

OO +6 OO +6 OO +6 RETURN RETURN L-R

4 5 6
AUX AUX AUX 2-TRK
3 7
2 2 2
0 0 0 2 8
1 9
OO +6 OO +6 OO +6 0 10 AUX AUX AUX AUX AUX AUX
1 0 2 0 3 0 4 0 5 0 6 0
AUX AUX AUX
3 3 3
0 0 0
L-R
OO +10 OO +10 OO +10 OO +10 OO +10 OO +10
OO +6 OO +6 OO +6
GRP AFL AFL AFL AFL AFL AFL
AUX AUX AUX 1-4
4 4 4
0 0 0
GRP/AUX 1-2 GRP/AUX 3-4 L-R/AUX 5-6 FOH
REVERSE REVERSE REVERSE STAGE MONITOR
OO +6 OO +6 OO +6 AUX
1-2
PRE PRE PRE PEAK PEAK PEAK PEAK PEAK PEAK

AUX +6 +6 +6 +6 +6 +6
AUX AUX AUX 3-4 0 0 0 0 0 0
5 5 5
0 0 0
AUX SIG SIG SIG SIG SIG SIG
5-6
OO +6 OO +6 OO +6 1 2 3 4 L5 R6
AUX AUX AUX
6 6 6 OSC/NOISE MONO OUT
0 0 0
ON L-R L-R L-R L-R PFL/AFL
WEDGE MONITOR
OO +6 OO +6 OO +6 C C C C
TALK PAN PAN PAN PAN M 0
PRE PRE PRE

C C C
PAN BAL BAL L R L R L R L R OO +10

MUTE MUTE MUTE MUTE MUTE MUTE

ODD EVEN ODD EVEN ODD EVEN
L R L R L R

MUTE MUTE MUTE AFL AFL AFL AFL AFL AFL

PEAK PEAK PEAK 1 2 3 4 L R

+6 +6 +6

0 0 0
10 10 10 10 10 10 10 10 10
SIG SIG SIG

5 5 5 5 5 5 5 5 5

PFL PFL PFL

0 0 0 0 0 0 0 0 0

L-R L-R L-R

5 5 5 5 5 5 5 5 5

1-2 1-2 1-2

10 10 10 10 10 10 10 10 10
3-4 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
13-14 15-16 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6

GL2200 USER GUIDE 23

REAR PANEL LAYOUT
SYS-LINK
2-TRACK STEREO STEREO L/MONO L/MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MONITOR RETURN 20 RETURN 19 18 RETURN 17 IN
TIP L
R L/MONO R L/MONO 15 13 10 9 8 7 6 5 4 3 2 1
RING R
STEREO STEREO
IN IN
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
AUX AUX AUX AUX AUX AUX 16 14 IN IN IN IN IN IN IN IN IN IN
6 5 4 3 2 1 GRP
R R
MIC
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
INSERT R L INSERT INSERT INSERT INSERT INSERT

TALKBACK
M 3 1
SYS-LINK
OUT
DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT
OUT OUT 10 9 8 7 6 5 4 3 2 1
SEND

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE

CAUTION
R L
WITH SAME TYPE AND RATING.
GRP/AUX ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
OUT OUT REVERSE
6 5 4 2 WARNING: DISCONNECT SUPPLY BEFORE CHANGING FUSE.
OUT OUT ATTENTION: COUPER L'ALIMENTATION AVANT DE CHANGER LE FUSIBLE.
AUX 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
100 - 240V~ T1A 250V 20mm SUPPLY VOLTAGE RANGE: SEE INSTALLATION INSTRUCTIONS BEFORE CONNECTING TO THE SUPPLY
EXTERNAL SUPPLY INTERNAL SUPPLY 100 - 240V.AC DO NOT OBSTRUCT VENTILATION OPENINGS
ACTIVE ACTIVE WARNING - THIS APPARATUS MUST BE EARTHED. 47-63Hz ~ 60W MAX 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
Channels…………peak 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
0 dBV = 1 Volt rms
CROSSTALK: Referred to driven channel @ 1kHz
Adjacent channel ……………………………………... < -90dB
Channel fader off.......................................................< -90dB
Channel mute on .......................................................< -90dB
Channel Pan pot isolation .........................................< -80dB
NOISE: Measured rms, 22kHz bandwidth
Mic input EIN (150 ohm source)..............................< -128dB
Line preamp, 0dB gain ............................................< -83dBu
L-R output residual noise .....................< -92dBu (96dB S/N)
L-R faders ‘0’, nothing routed ...............< -88dBu (92dB S/N)
L-R mix noise (16 channels routed) .....< -83dBu (87dB S/N)
Group, faders ‘0’, nothing routed..........< -91dBu (95dB S/N)
Group mix noise (16 channels routed).< -83dBu (87dB S/N)
POWER SUPPLY: .................... 100 to 240V AC @ 47/63Hz
....................................Internal, autosensing AC mains input
Power consumption:............................................... 60W max
Mains Fuse rating 100-240VAC: ............... T1A 250V 20mm

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 GL2200 USER GUIDE

INTERNAL LINK OPTIONS
The console is set to satisfy most applications that should be encountered. However, the following
internal link options are offered to provide alternative settings for those applications that may require
them. These options involve resoldering of circuit board links and should only be carried out by
competent technical personnel. Further information is available in the GL2200 SERVICE MANUAL
and from your agent.

MONO & STEREO INPUT

1. Reconfigure each aux as required to be permanently pre-fade or post-fade rather than
switched by the front panel PRE switch.
2. Reconfigure the pre-fade sends to be pre-EQ / pre-mute, or post-EQ / pre-mute, instead
of the standard post-EQ / post-mute.
3. Disable +48V phantom power regardless of panel switch position - remove link.
4. Reconfigure the Direct Out Source to be pre-fade or post-fade.

MONO
DIRECT OUT
POST-MUTE

POST-FADE

POST-FADE
SWITCHED
PRE-MUTE

PRE-FADE

PRE-FADE
POST EQ

SOURCE
ENABLE
PRE EQ

+48V
PP

L22 STEREO
AG3428

STEREO
POST-MUTE

POST-MUTE

ENABLE
POST EQ

POST EQ
PRE MUTE

PRE MUTE

PRE-EQ

PRE-EQ
RIGHT

LEFT

+48V
RIGHT

PP
LEFT

AUX 6
CUT LINKS
INSERT IC
SSM2142

LEFT

L22 LEFT
AG3426

AUX 5
CUT LINKS
INSERT IC
SSM2142

CONNECTOR LEFT & CONNECTOR

For Aux out 5 & 6 balance option with
jack output tip = hot, ring = cold. Remove
two links and plug in balance driver IC.
AUX 2/4
CUT LINKS
INSERT IC
SSM2142

GROUP
For Aux out 1-4 balance option with jack
AUX 1/3
CUT LINKS
INSERT IC

output tip = hot, ring = cold. Remove two

SSM2142
L22 GROUP
AG3425

GROUP
links and plug in balance driver IC.

GL2200 USER GUIDE 25

 GL2200 CUE SHEET - INPUTS
Copy this sheet and use it to record the console settings.

48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V

1 Ø 2 Ø 3 Ø 4 Ø 5 Ø 6 Ø 7 Ø 8 Ø 9 Ø 10 Ø 11 Ø 12 Ø 13 Ø 14 Ø 15 Ø 16 Ø
30 30
PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 20 40 20 40
-30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB
0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40 MIC 50 MIC 50
30 30 30 30 30 30 30 30 30 30 30 30 30 30
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN 10 60dB GAIN 10 60dB
50 50 50 50 50 50 50 50 50 50 50 50 50 50
MIC TO TALK
PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD
- 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 10 10
0 0
100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz
LINE LINE
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0 GAIN OO 20
GAIN OO 20
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz
LINE LINE
TO L-R TO L-R
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz

MIC MIC
500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz
LINE LINE
MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 0 0
HF HF
12kHz 12kHz

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 0 0
MF1 MF1
2.5kHz 2.5kHz

35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz -15 +15 -15 +15
MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 0 0
MF2 MF2
250Hz 250Hz

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
LF LF LF LF LF LF LF LF LF LF LF LF LF LF LF LF
60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15

EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

C C C C C C C C C C C C C C C C
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK

+6 +6 +6 +6 +6 +6 +6 +6 +6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 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 27-28

NOTES:

26 GL2200 USER GUIDE

 GL2200 CUE SHEET – MASTER & INPUTS
Copy this sheet and use it to record the console settings.

HF HF POWER
48V 48V 48V 48V 48V 48V 48V 48V
12kHz 12kHz
LAMP 17 Ø 18 Ø 19 Ø 20 Ø 21 Ø 22 Ø 23 Ø 24 Ø
-15 +15 -15 +15 2-TRACK
0 0

LF LF 0 0 PAD PAD PAD PAD PAD PAD PAD PAD

-30dB -30dB -30dB -30dB -30dB -30dB -30dB -30dB
60Hz 60Hz
0 40 0 40 0 40 0 40 0 40 0 40 0 40 0 40
30 30 30 30 30 30 30 30
-15 +15 -15 +15 SEND RETURN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN
OO +10 OO +10
RECORD 50 50 50 50 50 50 50 50
AUX AUX REPLAY PAD PAD PAD PAD PAD PAD PAD PAD
1 1 TO
0 0 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30 - 10 20 60 30
L-R

OO +6 OO +6 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz

AUX AUX
2 2 HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
HF 0
0 0
L MONITOR R 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz

OO +6 OO +6
+16
BAL BAL -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
+9 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz 3kHz
+6
L R L R +3
ODD EVEN ODD EVEN
0 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz 500Hz 15kHz
MUTE MUTE MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0 MF1 0
-3
-6
PFL PFL
-9
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
-12 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz 250Hz

10 10 -16
L-R L-R
1-2 3-4 -20
5 5 -30 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz 35Hz 1kHz
MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0 MF2 0
0 0

5 5
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
PFL/AFL LF 0
LF 0
LF 0
LF 0
LF 0
LF 0
LF 0
LF 0
10 10 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz 60Hz

20 20 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15

MONITOR EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN
LEV 4 5 6
30 30
3 7
1kHz OSC 2 8 AUX AUX AUX AUX AUX AUX AUX AUX
OO OO
PINK NOISE 1 1 1 1 1 1 1 1
1 9 0 0 0 0 0 0 0 0
STEREO STEREO 0 10
RETURN RETURN L-R OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6
4 5 6
2-TRK AUX AUX AUX AUX AUX AUX AUX AUX
3 7
2 2 2 2 2 2 2 2
2 8 0 0 0 0 0 0 0 0
1 9
0 10 AUX AUX AUX AUX AUX AUX OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6
1 0 2 0 3 0 4 0 5 0 6 0
AUX AUX AUX AUX AUX AUX AUX AUX
3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0
L-R
OO +10 OO +10 OO +10 OO +10 OO +10 OO +10
OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6
GRP AFL AFL AFL AFL AFL AFL
1-4 AUX AUX AUX AUX AUX AUX AUX AUX
4 4 4 4 4 4 4 4
0 0 0 0 0 0 0 0
GRP/AUX 1-2 GRP/AUX 3-4 L-R/AUX 5-6 FOH
REVERSE REVERSE REVERSE STAGE MONITOR
AUX OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6
1-2 PEAK PEAK PEAK PEAK PEAK PEAK PRE PRE PRE PRE PRE PRE PRE PRE
AUX +6 +6 +6 +6 +6 +6
3-4 AUX AUX AUX AUX AUX AUX AUX AUX
0 0 0 0 0 0
5 5 5 5 5 5 5 5
0 0 0 0 0 0 0 0
AUX SIG SIG SIG SIG SIG SIG
5-6
1 2 3 4 L5 R6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6

AUX AUX AUX AUX AUX AUX AUX AUX

OSC/NOISE MONO OUT
6 6 6 6 6 6 6 6
0 0 0 0 0 0 0 0
ON L-R L-R L-R L-R PFL/AFL
WEDGE MONITOR
C C C C OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6
TALK PAN PAN PAN PAN M 0 PRE PRE PRE PRE PRE PRE PRE PRE

C C C C C C C C
L R L R L R L R OO +10
PAN PAN PAN PAN PAN PAN PAN PAN

MUTE MUTE MUTE MUTE MUTE MUTE

ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN ODD EVEN
L R L R L R L R L R L R L R L R

AFL AFL AFL AFL AFL AFL MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

1 2 3 4 L R PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0
10 10 10 10 10 10 10 10 10 10 10 10 10 10
SIG SIG SIG SIG SIG SIG SIG SIG

5 5 5 5 5 5 5 5 5 5 5 5 5 5

PFL PFL PFL PFL PFL PFL PFL PFL

0 0 0 0 0 0 0 0 0 0 0 0 0 0

L-R L-R L-R L-R L-R L-R L-R L-R

5 5 5 5 5 5 5 5 5 5 5 5 5 5

1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2

10 10 10 10 10 10 1 1 1 1 1 1 1 1
3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4

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

AUX1 AUX2 AUX3 AUX4 AUX5 AUX6

25 26 27 28 29 30 31 32

NOTES:

GL2200 USER GUIDE 27

 GRP 1-4
AUX 1-6

RIGHT
P/AFL
LEFT
L-R
SL =SYSLINK OSC/PINK NOISE
BLOCK DIAGRAM OPTION 1KHz
GRP1-4 OSCILLATOR /TALKBACK
AUX1-2 LEVEL
+ DIM SELECT ON
MONO AUX3-4
PEAK
PINK
+6dB CHANNEL AUX5-6
PRESS NOISE
0dB TO GEN
4-BAND 2-SWEEP SIG x10, 14, 22 or 30 TALK
EQUALISER TALKBACK SIGNAL
PFL FROM STEREO INPUT
PAD
LINE IN -30dBu FADER
HF
STEREO RETURN x2
GAIN PFL
BAL
2-BAND
MF1 STEREO
PAN L-R EQUALISER
EQ IN MUTE FADER RETURN
MIC/LINE IN + 1-2
2= + HF L/MONO
3-4 BAL -
MF2 L-R MUTE

+48V 1-2 (3-4) - LF

R
LF
INSERT TIP = SEND AUX 1

+ AUX 2
SUM

RING = RETURN
0dBu LO-CUT POST-EQ POST-MUTE
FILTER
DIRECT PRE-EQ PRE-MUTE
OUT PRE FADER AFL
TIP = +
BAL OUT OPTION
PRE-FADE
RING = - POST FADER
SL
0dBu POST-FADE AUX BAL
AUX1 AUX3 AUX5
INTERNAL AUX LINK OPTIONS
AUX 1 - +
PRE-FADE
SWITCHED AUX MIX OUT GRP GRP GRP
POST-FADE
AUX 2

AUX 3 AFL GROUP/LEFT PEAK

+6dB
0dB
AUX 4 FADER SIG
AUX AUX AUX
SL INSERT
BAL GROUP1 GROUP3 LEFT
-2dBu MUTE 2=+
POST - +
PRE
AUX 5 GROUP MIX SUBGROUPING +4dBu
(GROUP CCTS ONLY)
PAN L-R
AUX 6
L POST
TO MONITOR
(L CCT ONLY)

POST
PRE REV
REV REV
GROUP/AUX REVERSE 1-2 3-4 5-6
L-R
SAME FOR
GROUP1-2, GROUP3-4, L-R
TALKBACK SIGNAL AUX1-2, AUX3-4, AUX5-6
TO OSC/TALKBACK AFL
BAL OUT OPTION

SL AUX BAL
AUX2 AUX4 AUX6
- +
AUX MIX OUT GRP GRP GRP

STEREO
MIC TO TALK PEAK
GAIN
ENABLE
(LAST STEREO ONLY) +6dB CHANNEL x2 AFL GROUP/RIGHT PEAK
+6dB
0dB
0dB
MIC IN SIG
SIG
PFL FADER AUX AUX AUX
2= +
+ 4-BAND SL INSERT
EQUALISER BAL GROUP2 GROUP4 RIGHT
FADER -2dBu MUTE 2=+
HF - +
+48V GROUP MIX +4dBu
SUBGROUPING
MIC/ MF1 (GROUP CCTS ONLY)
LINE EQ IN MUTE BAL L-R
L PAN L-R
+ 1-2
R MF2 R POST
POST 3-4 TO MONITOR
(R CCT ONLY)

LF

L POST-FADE

R POST-FADE
POST-EQ POST-MUTE
PRE 2-TRK SEND
PRE-EQ PRE-MUTE
LINE SUM + L
L/MONO
LEV +
SUM + R
+ INTERNAL AUX LINK OPTIONS
R POST-FADE AUX 1
SWITCHED
L
PRE-FADE
AUX 2 -
LR SUM MONO
R BAL
LEV M OUT
SL MONO OUT
AUX 3 P/AFL MIX - +
PFL/AFL

AUX 4
P/AFL DC L R

POST
PRE MONITOR METERS
AUX 5
REPLAY TO L-R
AUX 6 PFL/AFL
L-R/2TRK
MONITOR
2-TRK RETURN
PHONES LEV
POST L + + HEADPHONES
PRE L
R

R + +
LINE TO L-R
P/AFL
GRP 1-4
LEFT
RIGHT
AUX 1-6

28 GL2200 USER GUIDE