Allen heath gld 112 инструкция на русском

1. Power Up Screens

The Home screen will appear on power up If no password is set.

The Login screen will appear when you:

Power up when the current User has a password set Unlock the surface when a password is set

Change user from the Home screen

Users List

The list shows available Users. The Admin User is always displayed. Up to 9 other Users that have been made ‘Active’ by Admin will also display in the list. Icons show if the User has a password or User Scene set.

Password – If one is set it needs to be entered using the screen keypad when the user logs in.

User Scene – If a User Scene is set it is recalled automatically on login when the user is changed. It does not recall when the same user logs in, or when the system is powered up again while the same user is current.

A User Scene can be set by Admin to ensure a predetermined layout and starting point loads when a different user logs in.

Permissions – Access to selected functions and parameters can be restricted for each User. This is configured by Admin using the Setup screen.

Not Shut Down Correctly reminder screen

If the GLD was last switched off without it being first shut down using the Home screen Power Down button this screen will appear on power up. The GLD will continue to boot after a 10 second count down. Choose to start immediately using the Start GLD button, or go to the Advanced page if you wish to fully reset the system.

2. Home Screen

2.1Home page

This is the main Home screen. It displays after power up. It also displays when the screen Processing key is active and the active Sel key is turned off.

To return to the Home screen at any time:

Turn off the active Sel key while in a Processing screen, or

Press the Processing key next to the touch screen once if no Sel key is active, or twice a Sel key is active.

Page tabs – Touch a tab at the top of any screen to open its associated page.

GLD information – The centre section of the Home page displays Firmware version, current User logged in, and last Scene and Show recalled.

System Status — Displays a list of connected AudioRacks. A green tick indicates system good. If a blue circle appears touch the box to open a window for information about the event logged, for example a QOS (cable) error. Touch the box again to close the window.

Custom Meters 1-4 – These screens can be assigned by the user with a selection of up to 16 meters. They can be blank if no meters have been assigned.

RTA – The 31-band 1/3 octave Real Time Analyser can be displayed. Its source is the current PAFL monitor selection.

Note The RTA can also be viewed on the mix GEQ page and on the fader strip meters while in GEQ Fader Flip mode.

Clock — Shows the time in hours, minutes, seconds. Set this using the Setup / Utility / Date/Time screen.

To safely Power Down the GLD system — Touch the Power Down button, confirm, and then switch power off. Failure to power down correctly may result in parameter changes made up to 30 seconds before power is removed becoming lost.

Lock Surface — Touch the Lock Surface button and Yes in the confirmation popup to lock the surface controls. Parameters will not be changed if the surface controls are moved while locked, for example when left unattended. Touch the screen again to unlock the surface and return the controls to their previous setting.

Note If a password is set for the current user then this must be entered when the user locks or unlocks the surface.

Help Manual – GLD has a built-in Help manual. Touch the ? in the status bar to open the Help for the current page.

Current status display:

Active Processing – Displays the Name and Colour for the channel currently selected using a fader strip Sel key is displayed at the top left of the screen.

Active Mix – Displays the Name and Colour for the Mix currently selected using a fader strip Mix key is displayed at the bottom left of the screen. When the Main (LR) mix is active the status bar simply displays “Main”.

Note Be aware of which mix is currently active while you are mixing. It is good practice to turn off the Mix key to return to the main mix once you have finished adjusting a mix, for example an Aux or FX send.

Current and Next Scene – The last Scene recalled and the Scene highlighted in the list ready to be recalled are displayed in the status bar. When the Scene is recalled its name briefly flashes green to confirm the action.

USB playback/record status – An icon at the bottom right of the screen lights blue while playing back and red while recording. Touch the icon to open the USB Audio page.

Yellow triangle error indicator – Touch the yellow triangle to view the Event Log.

2.2Users Login page

Open this page to log in as a different User.

The system Administrator can set up to 9 User Profiles to protect settings and reduce operator error by restricting access to certain functions for different users.

The list shows available Users. These can be configured in the Setup / Config / User Profiles screen. The Admin User is always displayed. Only other Users that have been made ‘Active’ by Admin will display in the Users page. The list displays if the User has a password or User Scene set.

Password – If one is set it needs to be entered using the screen keypad when:

The User logs in using this screen The GLD is powered up

The User locks or unlocks the surface

User Scene – The folder icon in the list shows if a User Scene is set. The window on the right displays which Scene is set for the User highlighted in the list.

Note The User Scene, if one is set, is recalled automatically on login when the User is changed. It does not recall when the same User logs in, or when the system is powered down and up again while the same user is current.

Permissions – Access to selected functions and parameters can be restricted for each User. These are configured by Admin.

2.3Quick Start page

Opens a Quick Start sheet to help the new user or guest engineer learn in just a few minutes how to mix their show using GLD.

Swipe up and down the screen to scroll through the page. Touch Help Menu to open the list of additional Help topics.

3. Processing Screen

3.1Name and Colour keypad

Input channels, FX sends and returns, Mix masters and DCA masters can each be given a Name and Colour using the on-screen touch keypad. These display in the fader bank LCD ‘virtual write-on strip’ and also on the screen wherever the channel name is shown.

To open the on-board naming keypad touch the keyboard icon at the top left of the screen while in the Processing screen with a fader strip Sel key active.

Colour – Touch a colour box to instantly apply that colour to the channel. 7 colours and off are available.

Name – Type in a name using the keypad. Use Caps and Shift to access uppercase and special characters. Touch Apply to accept the change or Close to shut the keypad without accepting the change.

A name can have up to 8 characters.

Note 5 characters are displayed on the fader strip LCD.

Quick Names – Up to 15 names can be entered and stored for instant access.

To store, type in a name, touch a Quick Name box and touch Store.

To recall, touch a Quick Name box and touch Apply.

Quick Names are stored in Show memories.

3.2Overview page – Input Channel

Input Channel processing pages are accessed by pressing an Input strip Sel key while the Processing screen is selected. The Input Overview page provides a thumbnail view of all processing for the selected input channel.

The signal flow for the Input Channel is:

Touch a tab at the top of the screen or touch a section to open the related processing or routing window. EQ and dynamics curves display yellow when switched In and grey when switched Out.

The top left block shows Preamp and HPF. Icons show 48V phantom power and Pol- polarity setting. The source currently patched to the channel is also shown.

The Gate is available on input channels only.

Insert – Assignment and bypass status are shown.

Delay – Shows the setting for the selected input. For a view of all Input Channel delays open the Delay page.

Library – The Input Channel Library is accessed from the Overview page.

Sel key and button PFL listen function

Press and hold any processing Sel key or screen Sel button to listen to (PFL) the signal at that point in the channel signal path. This interrupts the current PAFL selection in the headphones and listen wedge/IEM monitor. The option can be turned on or off using the

‘Disable PFL on Sel’ button in the Setup / Audio / PAFL screen.

3.3Overview page – Mix Channel

Mix processing pages are accessed by pressing a mix master strip Sel key while the Processing screen is selected. The Mix Overview page provides a thumbnail view of all processing for the selected mix channel.

The signal flow for the Mix Channel is:

Touch a tab at the top of the screen or touch a section to open the related processing or routing window. EQ and dynamics curves display yellow when switched In and grey when switched Out.

The top left block shows if a Preamp or other source has been assigned as the External Input to the mix. Default is none assigned. Trim affects the external input only.

The GEQ is available on mix channels only.

Insert – Assignment and bypass status are shown.

Delay – Shows the setting for the selected mix. For a view of all Mix Channel delays open the Delay page.

Library – The Mix Channel Library is accessed from the Overview page.

3.4Overview page – FX Send or Return

FX processing pages are accessed by pressing an FX Send or Return strip Sel key while the Processing screen is selected. The page provides a thumbnail view of all processing and parameters for the selected FX.

Touch the FX parameter controls and use the screen Rotary to adjust values. Touch a tab at the top of the screen to open the PEQ or routing window. The 4-band PEQ is available within the FX Return strip.

Touch to highlight the FX preset name and use the Rotary to scroll through the available presets for the FX unit loaded. The FX is changed as you scroll through the list.

Library – The FX Library can be accessed from the FX Send or Return screen. You can use this to load different types of FX unit into the slot.

To access the FX patching and for a view of all 8 RackFX units and their send/return or insert routing go to the FX screen.

3.5Channel Libraries

Libraries let you store and recall presets for individual processing blocks such as EQ and Compressor, and also for the whole Input or Mix channel.

Input and Mix channel processing Libraries do not store routing, levels or assignments.

The Library window lists available presets. Input and mix channel Libraries are accessed from their Overview page. Touch the Library button to open the Library window. Touch Exit Library to close the window.

The list shows 3 types of Library:

Factory (cannot be deleted)

User (stored in memory in the GLD)

USB (accessed directly from the USB key)

Touch to select a Library item and use the buttons to Recall or Overwrite the item. Touch Store New to store a new User Library item. Use the name keypad to apply a name of up to 8 characters.

User and USB Libraries cannot be deleted from this page. Go to the Setup / Memory / Library Manager page to delete and rename Libraries or transfer them between the GLD and a USB key.

Input Library Preamp recall – Input Libraries store the Preamp settings and all channel processing including HPF, Gate, PEQ, Compressor and Delay. The Recall Preamp button gives you the option to include or exclude Preamp settings when recalling the Library.

The Recall Preamp button setting is remembered when changing channels.

Note Making a channel Safe using the surface Safe key automatically makes the associated Preamp safe. Turning off Safe using the surface key unsafes the Preamp.

Trim can provide +/-24dB ‘gain’ control when the source does not have a preamp, for example input from GLD surface RCA line inputs, the I/O Port or USB playback. Trim is part of the channel, not the preamp.

When working with mic preamps it is typical to leave Trim set to 0dB unless you are gain sharing and want to adjust local level independent of preamp Gain.

Polarity toggles normal and reverse (+/- balanced input pins swapped). Use to compensate for reverse wired cables, or when double miking sources such as a snare drum with ‘top’ and ‘bottom’ mics, or kick drum with ‘in’ and ‘out’ mics. Polarity is part of the channel, not the preamp.

HPF – The High Pass Filter cuts low frequencies, for example to reduce pops or wind noise on microphones or tune out unwanted low end on acoustic instruments. Its cutoff frequency is adjustable from 20Hz to 2kHz.

The HPF provides a choice of slope from a gentle 12dB to steep 24dB/octave. Two filter types are available:

Butterworth – Maximally flat frequency response. Bessel – Maximally linear phase response.

The filter can be switched in or out of circuit. A good starting point for vocal mics is to switch the HPF in and set to around 120Hz.

The HPF can also be viewed and adjusted in the PEQ page.

Screen Sel buttons – These do the same as their related surface Processing Strip Sel keys:

Use with the Copy/Paste/Reset keys

Hold to listen to (PFL) the signal at that point if the

‘Disable PFL on Sel’ option is set to Off in the Setup / Audio / PAFL screen.

3.7Preamp Option — Gain/Trim on Surface

The Preamp Option lets you choose whether the Processing Strip Gain rotary controls the Preamp Gain or channel Trim.

Preamp on Surface – The surface Preamp rotary adjusts Preamp Gain. This is the default for normal single console operation.

Trim on Surface – The surface Preamp rotary adjusts Channel Trim. Consider using this in situations where you are sharing the same Preamp between channels or FOH and Monitor consoles.

OPTIONS pull-up window

Provides a global setting for Preamp or Trim on Surface. This affects all input channels.

Touch the pull-up tab and swipe your finger upwards to open its window.

A note about Gain Sharing

Any Preamp can be patched to any Channel. The same Preamp can be patched to more than one channel. For example:

One set of channels within the GLD allocated to the FOH mix and another split from the same mic inputs for important channels feeding the monitor mixes.

Mic preamps split between dedicated FOH and Monitor consoles using a digital snake connected to the GLD I/O Port.

In the above cases the Preamp is shared by two channels. The ‘Master’ console has control of the preamps and mic Gain. The ‘Slave’ console gets its inputs from the digital split. Its surface Preamp rotary becomes Channel Trim as it does not have mic preamps. However, it will be affected by preamp Gain changes made at the Master.

It is of course best that the FOH and Monitor engineer each have independent control of channel gain.

A solution is to set the Preamp Gain during sound check and for both engineers to use the Trim rather than Gain controls during the show. This means setting the ‘Trim on Surface’ option on the ‘Master’ console.

3.8Mix Ext In source

You can assign a source as an external input to the mix, for example for bus summing, combining console outputs, or an external communications or test source.

The Ext Input sums with the GLD mix pre-insert and is affected by the master processing and fader.

Source Select – Open the drop-down menu to choose which source to patch to the mix output. Touch Apply to accept or Cancel to leave unchanged.

Trim — Provides +/-24dB level control. This only affects the Ext Input. Start with Trim set to 0dB.

Polarity — Toggles normal and reverse (+/- balanced input pins swapped). This only affects the Ext Input to the mix, not the mix.

Socket Preamp – If the patched source is a Mic/Line XLR input then its Preamp controls are shown. These provide remote control of the input preamp circuit located at the socket.

3.9Noise Gate page

The Noise Gate automatically attenuates the signal when it drops below its threshold level. For example to:

Reduce excessive ring on a kick or tom drum Reduce hiss on a noisy keyboard when not played.

Touch and drag the curve or touch a parameter box. It highlights orange to show its value can be adjusted using the screen Rotary.

Depth — Sets how much the signal is attenuated when the gate closes. A good starting point is around 30dB. Reduce for less attenuation. If Depth is set to 0dB the gate will not attenuate the signal.

Threshold — Sets the level at which the gate opens to let the signal be heard. The meter on the left lines up with the graph and shows the signal at the input to the gate. The gain reduction meter on the right shows when the gate is closed. The histogram below shows gate activity over time.

Attack, Hold, Release — These controls set how fast the gate opens when the signal rises above the threshold, how long it is held open after the signal falls below the threshold and how long it takes to attenuate after it closes.

Side Chain Filter — Sets the frequency range of the signal that triggers the gate. Use this to prevent false triggering of the gate by filtering out low or high frequencies outside the fundamental range of the instrument being gated. For example, the low frequencies of a kick drum causing the gate on a rack tom to open.

In — Switch the gate in or out of circuit. The side chain can also be switched in or out of the gate. The curve turns yellow and the gain reduction meter displays red when the gate is switched in.

Library — You can store and name the current gate settings as a preset in the Library. Existing presets can be overwritten with the current settings. User Libraries can be exported and imported via USB key. To do this go to the

Setup / Memory / Library Manager screen.

Sel buttons – Touch while holding the Copy, Paste or Reset key to copy the gate settings to other channels or to reset them to default.

3.10 Insert page

You can insert external equipment or one of the 8 internal FX units into a channel or mix signal path:

An external signal processor using physical sockets One of the 8 internal Rack FX

Computer plug-ins via the I/O Port Networked audio via the I/O Port

Use the drop-down menus to assign the Insert Send and Return to physical sockets, the I/O Port or an FX unit. Touch Apply.

In button – Becomes available once the insert is assigned. Switch the inserted device in or out of circuit.

+4dBu/-10dBV – Choose the operating level of the insert point. +4dBu (default) is the typical setting for professional audio equipment. -10dBV (-8dBu) is a standard for lower level consumer equipment.

3.11 PEQ page

The Parametric Equaliser (PEQ) provides 4 fully adjustable bands of equalisation allowing very precise tone control. It can be adjusted using dedicated rotary controls on the surface or using the touch screen. For screen control, touch and drag the curve or touch a parameter box and use the Rotary.

In — Switch the PEQ in or out of circuit. The curve turns yellow when switched in and grey when switched out.

Type — The LF and HF EQ bands may be set as shelving, bell shaped or low/high cut filter response. When set as a filter the response is 12dB/octave.

Frequency — Sweeps the shelving, centre or cut-off frequency depending on the type of the EQ band.

Width — Adjusts the width of the bell shaped EQ band. Push and turn the Frequency rotary or use the screen. The value is shown in octaves. Higher values up to 1.4 affect a wider range of frequencies. Lower values down to 1/9th affect a narrower range. A value of 1/3 has a similar affect to the Graphic EQ.

Gain — Allows up to +/-15dB boost or cut for each EQ band. 0dB represents a flat response. It is typical to cut rather than boost when live mixing.

HPF — The High Pass Filter attenuates low frequencies below its cut-off frequency with a slope of 12dB/octave. Switch in or out using the In button. The HPF can also be adjusted using the Preamp page.

Library — You can store and name the current PEQ settings as a preset in the Library.

OPTIONS pull-up window

The frequency range for the 4 bands may be set globally for all inputs or mixes to be limited or full 20Hz to 20kHz.

A Fill Curves option to show the overall or individual effect of the EQ bands is available.

Sel button — Touch while holding the Copy, Paste or Reset key to copy the PEQ settings to other channels or to reset it flat.

3.12 GEQ page

A 28-band 1/3 octave Graphic Equaliser is provided on each of the 20 mix outputs. It can be adjusted using the touch screen or the surface faders.

Frequency response curve – The top part of the screen shows the combined response of the slider settings. This can show the response differences between the four GEQ types available.

RTA display – The Real Time Analyser display is superimposed on top of the frequency response curve. The RTA displays metering of the currently selected PAFL signal split into its 1/3rd octave frequency bands. The meter bars are shown in green. A red bar and a dot at the top indicate the dominant frequency band if the Show Peak Band option has been set in the Meters / RTA screen Options pull-up window.

Note The RTA follows the current PAFL selection. Make sure you have selected the PAFL key for the channel or mix you wish to analyse, for example the related Aux mix when you are using the GEQ and RTA to ring out a stage monitor.

Using the Screen to control the GEQ

Touch a frequency slider to highlight it. Drag the slider with your finger or use the screen Rotary to adjust cut or boost for the highlighted frequency band.

In — Switch the GEQ in or out of circuit. The settings turn yellow when switched in and grey when switched out.

Sel button – Touch while holding the Copy, Paste or Reset key to copy the GEQ settings to other mixes or to reset all bands flat.

Using the Faders to control the GEQ

While the mix Sel key is active, press the GEQ Fader Flip key to the right of the faders. The fader strips and their displays show the settings of the GEQ frequency bands. The right hand fader becomes the master for the selected mix. The meters above the faders display the RTA for the currently selected PAFL. Press GEQ Fader Flip to toggle between frequency ranges and back to normal mixing.

GEQ Type – Use the drop-down menu to select one of four GEQ types available. These offer different types of cut/boost response:

Constant-Q — Symmetrical cut/boost where the width (Q) of the filter is a constant 1/3rd octave for any amount of cut or boost.

Proportional-Q — Provides smooth wide Q for low cut/boost, which progressively tightens beyond 1/3rd octave for max boost/cut.

Digi-Q — Gain and width are optimised to minimise band interaction and to provide a frequency response as close to the slider positions as possible.

Hybrid — Allen & Heath have developed the best of both worlds. The boost is proportional-Q for smooth and warm small boost settings. The cut is Constant-Q providing clinical 1/3rd Octave attenuation with minimal band interaction.

Using the faders to control the GEQ

You can quickly access the GEQ on the faders for the mix with its Sel key active by:

Touching the screen GEQ Fader Flip button, or Pressing the GEQ Fader Flip key to the right of the faders while in any of the mix Processing pages.

This puts the lower frequency half of the GEQ on to the faders. Press again to present the higher frequency half, and press again to return to normal fader mode.

The frequency values are shown in the strip LCD display which turns red while in Fader Flip mode.

In Fader Flip mode the extreme right hand strip becomes the Master for the mix currently selected. The fader is either the mix master or a channel send to that mix if a channel Mix key is active. This lets you ring out a monitor mix by adjusting the GEQ while raising the channel send rather than master using this fader.

Press the fader strip Sel keys to reset individual frequency bands flat. The green Sel indicator lights when the band is flat.

Selecting the mix PAFL key and using the RTA Show Peak Band option will let you see the RTA on the strip meters and help you identify frequencies that start to ring.

Library — You can store and name the current GEQ settings as a preset in the Library. Existing presets can be overwritten with the current settings. User Libraries can be exported and imported via USB key. To do this go to the

Setup / Memory / Library Manager screen.

Note The GEQ Type is stored as part of the GEQ Library.

3.13 Compressor page

The Compressor is used to automatically reduce the dynamic range of the signal by squashing loud sounds and bringing up quieter sounds. For example, to smooth the level of a b ass guitar or the dynamics of a vocal.

Touch and drag the curve or touch a parameter box.

Ratio — Sets the amount of compression when the signal exceeds the threshold. A ratio of 1:1 means no compression. A good starting point for vocals is around 3:1. This means a 3dB rise in level at the input of the compressor would result in a 1dB rise at its output. To use the compressor as a limiter set the ratio to ‘Infinity’.

Threshold — Sets the level at which the compression starts. The meter on the left lines up with the graph and shows the signal at the input to the compressor. Start with a high setting and then dial it back until compression starts. The gain reduction meter on the right shows how much the signal is being compressed. The histogram below shows compressor activity over time.

Gain — This is ‘make-up’ gain which boosts the output to compensate for the drop in overall volume when the signal is being compressed. Adjust so that you hear a similar volume when switching the compressor in or out with normal signal present. Set Gain to a higher value for higher settings of Ratio and lower settings of Threshold. It is this gain that makes quiet signals sound louder.

Note If you notice the channel strip meter Pk light flashing while the meter reads low then check that you are not overdriving the Preamp while the signal is being heavily compressed. In this case back off the Preamp Gain and turn up the compressor Gain.

Soft Knee — Determines how quickly the compression cuts in. The Soft Knee adds compression gradually with more gentle ratio as it approaches the threshold level. Use this for more subtle compression of signals that hover around the threshold level.

Attack and Release — These controls set how fast the compressor pulls back the signal when it exceeds the threshold and how long it takes to let go when the signal drops below the threshold. Set this according to the type of signal to avoid hearing a ‘pumping’ effect.

Side Chain Filter — Restricts the frequency range of the signal that triggers the compression. Use this to filter out low or high frequencies outside the range of the wanted signal thus preventing false triggering. Extreme settings can be used for special effect or frequency sensitive compression, for example ‘de-essing’ to compress just a range of high frequencies to reduce sibilance of a vocal. The default is the filter switched out.

Compressor Type — Select one of the Manual or Auto compressor emulations. Auto modes automatically adjust the attack and release according to the dynamics of the signal. In some cases this can be better for avoiding ‘pumping’ effects. Types available:

Manual Peak

Manual RMS Auto Slow Opto Auto Punchbag

Parallel Path — Lets you mix the dry path ‘uncompressed’ signal with the compressed output. This 1970’s studio technique also known as ‘New York compression’ is useful in live audio. By mixing the raw signal with heavily compressed material (with make-up gain) low level detail is amplified while the high level transients are preserved from the raw signal.

With Parallel Path turned off only the compressed signal is routed to the output. This is the default setting. With Parallel

Path turned on, the mix between ‘dry’ uncompressed and ‘wet’ compressed signal can be balanced using the independent controls.

Library — You can store and name the current GEQ settings as a preset in the Library.

Sel buttons — Touch while holding the Copy, Paste or Reset key to copy Compressor settings to other channels or to reset it to factory default.

3.14 Delay page

The delay settings for all the channels or mixes are shown on this screen page. Compare settings between channels.

The currently selected channel is highlighted. Use the screen Rotary to change its value. Touch another parameter box to adjust the delay for a different channel.

Delay Bypass — Touch the button to toggle the delay in or out. Use this to compare the direct and delayed signal, for example when you are time aligning delay fill speakers.

Input Delay

Input delay can be used to time align instruments to each other or create extra ‘depth’ on stage.

Milliseconds 0 to 85 ms Metres 0 to 29 m

Feet 0 to 96 ft Samples 0 to 4094 s

Mix Delay

Mix delay is typically used to time align delay fill speakers to the main PA, or to align the main PA to the back line such as drum kit in a smaller venue where the acoustic sound coming from the stage is significant. Range:

Milliseconds 0 to 170 ms Metres 0 to 58 m

Feet 0 to 190 ft Samples 0 to 8100 s

SETUP pull-up window

The default delay unit is time in ‘ms’ (milliseconds) but can be changed to distance in ‘metres’, ‘feet’, or to ‘samples. This can be changed globally for the Input channels and for the Mix channels. GLD compensates for the effect of temperature on delay. Enter the ambient temperature if distance is chosen.

3.15 Routing Page – Input Channel view

The Input Routing page lets you view and adjust the channel sends, routing, assignments and Direct Out.

There are two ways to work with channel Routing:

Using the touch screen – Press a channel Sel key. Touch the screen Routing tab or press the Processing Strip Routing key to open the Routing page for the currently selected Input Channel.

Touch the tabs within the page to access the assignments and send levels from the selected Input Channel to all Groups, Auxes and FX, its DCA assignments, and adjust its Direct Output level.

Touch a box to toggle single parameters such as DCA and Group assignments. Touch a box to open the send panel on the right of the screen to adjust multiple parameters such as Aux send levels, assignments and Pre/Post settings. The screen Rotary becomes the Aux send level control as soon as the box is touched.

Using the GLD fader strips — Press an Input strip Mix key. Current settings are shown in the master strip LCD displays for:

Sends from the channel to all Auxes Sends from the channel to all FX

Channel assignments to the audio Groups

While holding down the Assign key press master Mix keys to toggle assignments on or off. While holding down the Pre/Post key press Sel keys to toggle Aux sends pre or post fader. Aux send levels can be adjusted using their master faders while in Mix mode. Remember to press the strip Mix key again to return to the main mix.

Aux sends – The send to each Aux can be set Pre or Post fader from the channel. The point within the channel signal path that feeds the send is set globally for each Aux using its master Routing page.

For stereo Auxes a Pan control appears. This adjusts the stereo image of the channel to the Aux and is not the same as or affected by the main channel Pan control.

Direct Output – Open the Direct Out tab to access its level. Normal setting is 0dB.

DIR OUT SRC pull-up window

The global source for the input channel Direct Outputs can be set here using the drop-down menu. This setting affects all channel Direct Outputs:

Post-Preamp PostHPF Post-Gate

Post Insert Return Post-PEQ Post-Comp Post-Delay

Touch the buttons to set:

Follow Fader (pre/post fader) Follow Mute (pre/post mute)

Strip Rotary control Custom 1 and 2 views — These can be configured as dedicated Aux or FX sends or Direct Out level using the Setup / Control / Surface Prefs screen.

3.16 Routing page – Mix Master view

The Mix Routing page lets you view and adjust all sends and routing from the channels.

There are two ways to work with master Routing:

Using the touch screen – Press a mix master Sel key. Touch the screen Routing tab or press the Processing Strip Routing key to open the Routing page for the currently selected Mix master.

Touch the tabs within the page to access the assignments and send levels from all Inputs, FX Returns and Groups to the mix and its DCA assignments.

Touch a box to toggle single parameters such as DCA and Group assignments. Touch a box to open the send panel on the right of the screen to adjust multiple parameters such as Aux send levels, assignments and Pre/Post fader settings. The screen Rotary becomes the Aux send level control.

Using the GLD fader strips — Press a master strip Mix key. Current settings are shown in the channel strip LCD displays. For example, with an Aux master selected:

Sends from all channels to the mix Sends from all FX returns to the mix Sends from all audio Groups to the mix

While holding down the Assign key press channel Mix keys to toggle assignments on or off. While holding down the Pre/Post key press Sel keys to toggle Aux sends pre or post fader. Aux send levels can be adjusted using the channel faders while in Mix mode. Remember to press the strip Mix key again to return to the main mix.

To set all channels On or Pre/Post fader hold the Assign or Pre/Post key and press the mix Master Mix or Sel key.

Aux send channel source – Use the drop-down menu at the top right of the screen to set the point within the channel signal path that feeds the Aux sends. This is set globally for each mix:

Post-Preamp PostHPF Post-Gate

Post Insert Return Post-PEQ Post-Comp Post-Delay

Setting an Aux as a monitor send – It is typical to set the source PostGate or Post-PEQ (so that the Compressor does not affect the monitors, but choose whether channel EQ does). Also set the sends Pre-Fade.

Setting an Aux as an effect send – Set the source PostDelay and all sends Post-fade so that the effect follows the channel processing and fader levels.

Strip Rotary control Custom 1 and 2 views — These can be configured as dedicated Aux or FX sends or Direct Out level using the Setup / Control / Surface Prefs screen.

Groups / Aux / FX / Main Mix / Matrix

Routing:

Inputs + FX returns > Groups Inputs + FX returns > FX sends

Inputs + FX returns + Groups > Aux sends Inputs + FX returns + Groups > Main mix Groups + Auxes + Main mix > Matrix

3.17 Routing page – DCA Master

GLD provides 16 DCA Groups. These can be used as DCA Groups (level control) or Mute Groups (mute masters).

The following can be assigned to DCA Groups:

Input channels FX returns

FX sends Group masters Aux masters Matrix masters Main LR master

There are two ways to assign DCA Groups:

Using the touch screen – Press a DCA master Sel key. The screen opens in the DCA Routing page.

Touch the tabs within the page to access the assignments of the channels, FX and mixes to the DCA Group. Touch the buttons to assign to the DCA Group.

Using the GLD fader strips — Press a DCA master strip Mix key. Current assignments are shown in the source strip LCD displays. The ‘ON’ icon displays for sources currently assigned.

While holding down the Assign key press source strip Mix keys to toggle assignments on or off. Remember to press the master strip Mix key again to return to the main mix.

DCA Fader to 0dB option – Select this if you want to use the DCA as a Mute Group. This disables the DCA master fader and sets it to its ‘0’ position. If you try to move the fader it will return to this position. Use the DCA Mute key as the Mute Group master.

DCA Groups explained

A DCA group provides a master fader and mute to remotely control the level of channels assigned to it.

Audio does not route through DCA groups as it does through conventional mix Groups. GLD provides both types of grouping. Use DCA Groups for level control and mute grouping. Use Mix Groups for grouped signal processing such as compression and for routing of grouped signals to Aux or Matrix mixes.

The DCA master affects the level and mute of an assigned channel back at its fader point. It is another level stage in line with the channel fader. It does not physically move the channel fader. A separate indicator next to the channel Mute key shows if it is muted by one or more DCA groups.

Channels can be assigned to multiple DCA Groups. For example, drum channels could be assigned to a DRUM DCA and also to a BAND DCA.

To use DCA Groups

Assign channels to the DCA Group.

Set the DCA master fader to its ‘0’ position. This is its normal operating position. This position results in the same level as if the channel was not assigned to the DCA.

You can adjust the level of the assigned channels up or down using the master fader, but always start with it set to

‘0’.

Note If you get no signal when you raise a channel fader check that it is not turned off by a DCA master.

4. Meters Screen

4.1Input Meters page

Meters for all 48 Input Channels are displayed on this page.

Channel Name and Colour is shown below each meter.

The Compressor Gain Reduction meter is shown to the right with the Gate Active indicator below it. These show activity in red when switched In, and in grey when switched out of circuit.

METER SRC pull-up window

The Input meter source point can be globally set for all meters in the Inputs page. This does not affect the fader strip or other screen metering.

The following options are available (all Pre-Fader):

Post-Trim Post-Gate/PEQ Post-Compressor Post-Delay (Default)

4.2FX and Mix Meters pages

These pages show meters for all FX and Mixes available.

The Compressor Gain Reduction meter is shown to the right with the Gate Active indicator below it.

METER SRC pull-up window

The meter source point can be globally set for all meters in the Mix page. This does not affect the fader strip or other screen metering.

The following options are available:

Pre-Insert Post-Insert Return Post-PEQ Post-GEQ Post-Compressor Post-Fader (Default)