Allen&Heath GS3000 - Manual (Page 10)

M
ONO
I
NPUT
/O
UTPUT
C
HANNEL
The mono input/output (I/O) channels are designed using a very high quality analogue
signal path to give the ultimate in high quality sound. The in-line format means that the
recording and the monitor/mixdown path are both combined in the same channel. The
recording signal path is known as the channel path and the monitor/mixdown path is
known as the monitor path.
With no jack in the TAPE IN socket, the Mic/Line signal is normalled through the monitor
path.
+48V – selects phantom power to the XLR input.
LINE – selects the LINE jack input on the rear connector panel and adjusts the input
preamp for line level sensitivity. In the up position, the XLR input is selected. Both these
inputs are balanced.
GAIN – Use this control to adjust the channel input sensitivity to match the connected
source signal, -10 to -60dBu for Mic gain and +10 to -40dBu for Line gain. The console
operating level (0dBu). Press the PFL switch to check the signal without affecting the
main mix output.
Ø – reverses the polarity of the input signal to compensate for phase differences due to
microphone placement or incorrect wiring of input cables.
INSERT – The INSERT point is fixed to be PRE-EQ and follows the CHAN/MON
switching for the HF/LF EQ. i.e. if the HF/LF EQ is in the channel path so will the insert
point. If the HF/LF EQ is switched to the monitor path the INSERT point will be in the
monitor path.
EQUALISER – The EQ consists of two separate sections; an HF/LF (High/Low
frequency) section and a fully parametric HMF/LMF (High Mid/Low Mid frequency)
section.
The HF and LF bands have a shelving response which means that all frequencies
beyond the turning point frequency are affected, HF = 12kHz, LF = 60Hz. Used with the
100Hz lo-cut filter you can tailor the low frequency response exactly as you require. Each
band may boost or cut by up to +/- 15dB. The centre flat position is detented for quick
resetting. The HF and LF section is normally in the channel signal path, but can be
switched into the monitor path by pressing the CHAN/MON switch.
The two fully parametric swept mid frequency bands HMF and LMF have a peak/dip (bell
shaped) response which means that the maximum boost or cut occurs at the selected
(centre) frequency. The centre frequency can be swept over a wide range: HMF = 300Hz
to 18kHz, LMF = 18Hz to 1kHz. Each band may boost or cut by up to +/- 17dB. The
centre flat position is detented for quick resetting. The Q control determines the
broadness or sharpness of the EQ on the centre frequency and is continuously variable
from 0.6 for subtle changes to 2 for narrow band correction or effect. Use the mids to add
warmth or presence to the sound or to notch out problem resonances. The HMF and
LMF section is normally in the channel signal path, but can be switched into the monitor
path by pressing the CHAN/MON switch.
Ø
G A I N
20
LINE
- 5
- 10
MIC
LINE
40
20
60
50
10
40
30
+ 48V
Q
F
LMF
H M F
F
Q
EQ
12kHz
HF
60Hz
IN
+ 17 - 17
- 17 + 17
0.6
18Hz
30Hz
120Hz
600Hz
2
1
1kHz
0
0.6
300Hz
440Hz
1.8kHz
7.5kHz
2
18kHz
0
- 15
- 15
CHAN
MON
+ 15
1
+ 15
0 LF
CHAN
MON
0
MON
CHAN
PRE/POST
10 0
C
10 0
10 0
AUX
3
4
AUX
0 10
2
AUX
1
AUX
6
5
XFX
PFL O O
PAN
PEAK
10
C
L R
GROUP 8
MUTE
GRP/DIRECT
10
5
0
20
PAN
MIX
R L
10
5
MUTE
1-2
3-4
5-6
7-8
20
30
O O
PFL
MON
CHAN
0
5
10
L-R
STATUS
5
16
HF and LF EQ