quick questing re a&h gl2800

ragata

ragata

New member
I've worked with this desk for quite some time, and now I've had to rent extra equipment for a major show at the club where I work. Suddenly I realize that I don't know weather or not the inserts on the desk are balanced, the manual's at the club and I really need to know, quickly :(
I cannot even remember what kind I've cables I bought in the first place. Argh.

Anyone?
 
ragata said:
I've worked with this desk for quite some time, and now I've had to rent extra equipment for a major show at the club where I work. Suddenly I realize that I don't know weather or not the inserts on the desk are balanced, the manual's at the club and I really need to know, quickly :(
I cannot even remember what kind I've cables I bought in the first place. Argh.

Anyone?
Click to expand...

They are not balanced. The insert has a single ended return and send in one TRS plug.
 
The only way that i am aware of to have a truly balanced insert is if you have a seperate jack on the console for send and return rather than one jack that does both. This usually is not found in more affordable consoles. What I would watch for is whether or not your inserts on the consoles are +4 or -10.
 
And on Allen and Heath consoles, it is a good idea to know if the insert is pre eq, and whether the the Aux Sends are effected by the insert! Inserting a compress on a vocal channel where the console has the insert effect the Aux Sends is a sure way to mess up the vocalist in their monitors! :( In this case, I end up assigning the Lead Vocal a Sub Group and compressing there. Singers seldomly want compression on their vocal in the monitors!
 
FV is right. Most consoles allow the insert to track to the aux sends and the EQ. Some consoles will have switches for this, or even a master dipswitch on the inside. As far as singers liking compression, many won't notice a little bit in the monitors, and many actually like it. As an engineer I do not like to have much if any compression in the monitors. I find that if vocalists get too much compression in their wedges, they actually make the reason you were using a compressor worse because they are not hearing the correct dynamic that they are putting out and sometimes increase their own dynamic as a result. Using a buss is one good way to solve this. I usually carry a few "y" cables with me in order to split some of the main channels if I have to run monitors from FOH. This way I can have one channel for the mains and one for the monitors. This is also a nice advantage of digital consoles. You can usually just route the same physical input to multiple channels so they can be processed differently. it also makes it easy to use parallel compression techniques without burning up an aux send or having to go through a buss.
 
You must log in or register to reply here.
Back
Top