Allen&Heath GL4000 USER GUIDE - Manual (Page 50)

49
USING THE GL4000 AS A MONITOR CONSOLE
The GL4000 can be easily configured to function as a dedicated 12 buss on-stage
monitor console. Here, the console is positioned at the side of the stage giving the
monitor engineer a clear view of the performers on stage. The sound sources are split
to feed both the front-of-house console which controls the PA mix, and the monitor
console which controls only the mix to the musicians own monitor speakers.
S
PLITTING THE
S
OURCES TO THE
C
ONSOLES
Use on-stage mic splitters or DI boxes to feed each source to both consoles. Decide
which console is to provide phantom power.
T
HE
M
USICIANS
M
ONITORS
These are usually wedge shaped speakers positioned in front of and facing each
musician or group of musicians. Each mix is created to supplement the sound field
heard by the musician. Good visual and audible communication is important to achieve
the balance required by each performer. Up to 10 such monitor mixes can be created
using the channel aux sends. Graphic EQs are used to minimise acoustic feedback.
Configure monitor mode by pressing
#
GRP REV for aux outputs on the main
faders. Set the aux sends PRE so that they operate independent of the faders.
Plug a graphic EQ into each aux INSERT. Set this up by 'ringing out' the system
(tuning out the frequencies most prone to feedback). Use AFL to check the
processed output.
Set the STEREO PFL METER switch up so that the meters 9 and 10 (LR) are
not interrupted by PFL. The post-insert, pre-fade signal level can be checked on
the buss meters, the output level on the main meters.
Use TB TO AUX to talk to each monitor as required.
T
HE
S
TEREO
S
IDEFILLS
Use the LR outputs to feed a monitor speaker positioned at each side of the stage. This
is used to supplement the sound field heard across the stage and is balanced using the
channel faders and pan controls. The output is controlled using the small faders.
T
HE
E
NGINEERS
L
ISTEN
W
EDGE
It is important that the engineer is able to check each monitor exactly the way it is heard
by the performers. This is best done by using an identical monitor speaker (wedge)
positioned next to and facing the engineer.
Configure the mono output as the listen wedge feed by selecting
#
MONO
SOURCE for AFL/PFL.
Check the required monitor mix by pressing AFL. Check any channel source by
pressing PFL. PFL overrides any selected AFL so that you can quickly check
a problem source while listening to a monitor output. With no AFL or PFL
selected the monitor is quiet.
Set the PFL TRIM control to adjust the PFL listen level relative to AFL. It is often
the case that monitors are run 'cold' resulting in AFL listening levels a lot quieter
than PFL on a correctly set channel.
It is best not to insert a graphic EQ into the engineers monitor output. Listening
to a monitor by pressing AFL lets you hear the effect of the graphic plugged into
that monitor exactly as the musician hears it.
Note that pressing TALK automatically dims the listen wedge by 20dB to prevent
feedback between the speaker and talkback mic.