8 Buss in-line Recording console PUBLICATION: AP3266
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.
CONTENTS Contents ................................................................................................................. 3 Introduction, Precautions & Safety.......................................................................... 4 Key features............................................................................................................ 5 Installing the console .............................................................................................. 6 Power supply ...........
INTRODUCTION The GS3000 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 and application of the GS3000. We recommend that you read this guide fully before starting.
KEY FEATURES OF THE GS3000 The GS3000 recording console offers the professional user an abundance of features with impressive performance. It is built on the established tradition of innovative British design and manufacture. The GS3000 is equally suited to home and studio recording.
INSTALLING THE CONSOLE Whilst great care has been taken to ensure that installations are made as trouble-free as possible, care taken at this stage, followed by correct setting up will be rewarded by long life and reliable operation. WIRING CONSIDERATIONS Install separate mains outlets for the audio equipment, and feed these independently from any other equipment such as lighting, computer and kitchen equipment.
POWER SUPPLY Refer to the SAFETY WARNING on page 3 of this User Guide. Read and understand the warnings and instructions printed on the rear panel of the power supply and reproduced here. The power supply provided with the GS3000 is the RPS11 which is a linear supply and produces the DC voltages required by the console. Always use the correct power supply and cable with the console. The use of alternative supplies is not recommended and may cause damage.
DIMENSIONS Dimensions for installing the console and power supply unit are shown below: RPS11 Power Supply 14.2 167.1 418.7 413.4 401.3 158.3 482.6 132.5 57.2 100.0 167.1 465.1 115.2 64.7 2.0 367.6 DIMENSIONS Unpacked Packed Width depth height weight(kg) Width depth height weight(kg) GS3000-824............................. 1186 ..........634 ........... 176............ 29 .......................... 1995 ..........830 ........... 330............ 38 GS3000-832.............................
CONNECTIONS The GS3000 uses professional grade 3-pin XLR, 1/4" TRS jack and RCA PHONO sockets. The applications diagrams in this guide illustrate typical equipment interconnections. To ensure best performance, we recommend that you use high quality audio cables and connectors, and take time to check for reliable and accurate cable assembly. It is well known that most audio system failures are due to faulty interconnecting leads.
MONO INPUT/OUTPUT CHANNEL + 48V 30 - 5 20 40 20 MIC LINE 50 60 40 G A I N - 10 10 Ø LINE CHAN 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.
30 - 5 20 40 20 MIC LINE 50 - 10 10 60 40 CHAN MON 0 12kHz - 15 + 15 0 60Hz - 15 + 15 CHAN MON 1 0.6 2 1.8kHz 440Hz 7.5kHz 300Hz 0 - 17 18kHz HMF EQ LMF EQ + 17 1 0.6 2 120Hz 30Hz 600Hz 18Hz 0 - 17 1kHz 100Hz lo-cut filter – Attenuates frequencies below 100Hz to reduce low frequency source noise such as unwanted rumble. It can also be used to clean up sounds which do not have much bass content, such as vocals and cymbals.
30 - 5 20 40 20 MIC LINE 50 - 10 10 60 40 CHAN MON 0 12kHz - 15 + 15 0 60Hz - 15 + 15 CHAN MON 1 0.6 C H A N N E L P A T H is sent to the tape multitrack input. Groups 1 to 8 are repeated across the console tape outputs e.g. group 1 is on Tape Out 1, 9, 17 & 25. MUTE – This turns the channel signal on or off. This mute can be controlled by the automation system. This does not affect the Pre-Fade aux sends.
DUAL STEREO INPUT CHANNEL 0 10 0 10 PRE/POST DUAL STEREO INPUTS – Two dual stereo input channels are included as standard. Stereo inputs 1 & 2 are fully featured with 4-band EQ, full aux and group routing, automated mute and 100mm fader. They are ideal for stereo instruments and MIDI sequenced sources. Stereo inputs 3 & 4 are ‘compact’ stereo inputs again with automated muting, ideal for returning effects to the mix. The stereo channel inputs are on separate TRS jacks.
AUXILIARY SENDS – The Left and Right stereo signals are summed to provide aux feeds in mono. You can set up to 6 mixes using the 4 aux send controls. 0 10 PRE/POST 0 Aux sends 1 & 2 can be switched either pre or post-fade using the GLOBAL PRE/POST SELECT SWITCH. This affects aux sends 1 & 2 for all input channels. Normally, effects sends are post-fade, so that the effect follows the fader level and cue feeds are Pre-Fade so that an independent mix can be sent to the musicians.
MIC / GUITAR VALVE INPUT Two high quality patchable SVT (symmetrical valve technology) valve mic/line pre-amps are included in the master section. They have been designed to give a pleasing rich warm sound with a highly expressive high frequency response and subtle compression/soft clipping when driven with high signal levels.
Valve drive – Use this control to adjust the gain of the valve stage. This control can be used creatively to overdrive the valve circuit and produce rich second harmonic distortion sought after by many guitarists or the characteristic warm sound revered by vocalists. HI-CUT – Press this switch to remove harsh high frequencies produced when overdriving the valve circuit. LEVEL – This control adjusts the output level from the OUT jack on the rear panel.
GROUP/AUX OUTPUT Groups allow up to 8 separate mixes to be created and recorded on the multitrack in addition to direct signals from the channels. Each group has a 12 segment bargraph peak reading meter, mono/stereo switching configuration, AFL monitoring and 100mm faders. Sometimes it is necessary to control more than one channel simultaneously, for example a drum kit or a group of backing vocalists. This is known as subgrouping.
STUDIO OUTPUTS Studio feeds 1 & 2 are stereo sub-mixed outputs which normally feed speakers or a headphone ring in the studio providing foldback monitoring to the musicians. Aux 1 (2) can be set up as an independent foldback mix e.g. drum mix or vocal. L-R would be the same mix as the engineers monitor mix. Press L-R and AUX 1 (2) for a quick foldback mix created from L-R with selected signals boosted using AUX 1 (2) sends. The CRM mix follows the engineers monitor selection e.g.
MASTER & MONITOR METERBRIDGE SOURCE # " GROUP OUTPUT LEVEL # Meterbridge source – if the optional meterbridge is fitted, press this switch to globally switch the meters to follow the channel small fader (tape out) signal path. When not selected the meters follow the monitor (tape in) signal path. 0 The 12 segment L-R bargraph meters normally monitor the post-fade L-R mix or the two-track return depending on the position of the 2TRK1/2/3 switches.
METERBRIDGE SOURCE # " GROUP OUTPUT LEVEL # 0 With the switches in the up position the L-R mix output is the source. 2TRK2 – press this switch to listen to the playback from Tape machine 2. 2TRK3 – press this switch to listen to the playback from Tape machine 3. ! 10 10 The switch priority is 2TRK3 overrides 2TRK2 which overrides 2TRK1 which overrides the L-R mix output to the control room.
THE AUTOMATION SYSTEM The GS3000 has a comprehensive automation system capable of controlling all of the large mute switches on the console and also to remotely control the transport controls of an external machine such as a multitrack recorder, a hard disk recorder or a MIDI sequencer.
TURN ALL CONSOLE MUTES OFF OR ON It is often useful to turn off (clear) all the console mutes or to turn them on (set). You may wish to clear the console before starting a new scene or setting up a new group or patch. Alternatively you could set all mutes on and work with just the active channels. Once ’cleared’ or ‘set’ in this way you can overwrite and edit selected groups and patches, or all 128 patches using the 'ALL' function as a starting point for a new show.
MUTE GROUPS A mute group lets you mute a selected combination of channels with a single key press. Applications include muting unused channels when mixing different tracks, muting all effects, muting a group of instruments etc... The GS3000 includes 4 mute groups controlled by a bank of large buttons in the automation channel. Each of the 4 mute groups can be operated either on its own or in combination with the other three. When operated together, the mute groups effectively combine together.
MUTE SAFES Console mutes are overwritten by mute groups, stored patches and MIDI mute data transmitted from an external controller. The GS3000 includes a 'mute safes' facility to isolate specific groups of mutes so that they are unaffected by the automation system. Mute safes can be selected in 3 distinct groups: 1. All monitor path mutes in the console I/O channels. This also includes the mutes in the stereo inputs and Aux sends 5 and 6 in the master section. 2.
MUTE PATCHES A mute patch lets you store the console mute on/off settings. Mute patches can be recalled with a single key press. This is much like taking a 'snapshot' of the console settings. Mute patches are used extensively during mixdown. Patch changes can be linked to external sequencers and effects devices via MIDI for sophisticated mixdown control. Patches can be archived and recalled via MIDI. The GS3000 includes 128 mute patch memories.
THE 3 DIGIT PATCH DISPLAY Normal Mode Shows selected patch number 0 to 127 or ALL Indicates which patch will overwrite the console mutes when you press RECALL, or be overwritten when you press STORE. The ACTIVE PATCH dot tells you how the displayed number relates to the current console mute settings: ACTIVE PATCH on : Displayed patch is the last patch recalled. Console mutes are the same as the displayed patch (except for channels made 'safe').
Store a Mute Patch Select the mutes to be saved in a patch. i.e. Mute LEDs on. Press or to the required patch number. Press the STORE switch. The STORE LED will illuminate. The 4 MUTE GROUP switches and RECALL switch will start flashing. Press the RECALL switch to overwrite the patch. The RECALL LED will flash once and the STORE LED will turn off. The patch is now saved. Recall a Mute Patch SHIFT HOLD FOR SHIFT FUNCTION Press or to the required patch number.
SOLO-IN-PLACE Solo-in-place is a system for checking individual signals or combinations of signals in the mix. This is done by muting all channels except for the channel/s being soloed. It is known as 'solo-in-place' because the position and relative levels of the signal to all the outputs is retained. Solo-in-place affects the main outputs. This should not be confused with the PFL/AFL monitoring system, which affects only the monitor outputs.
SOLO SAFES Solo-in-place can mute all the console large mute switches which includes the monitor and channel path mutes in the I/O channels, the dual stereo input channels, aux sends 5 and 6. To hear the effect of soloed channels the required outputs should not be muted. You may also wish to always hear the effect of signal processing devices such as reverbs connected to the console aux sends and returns. Here, the aux sends and channels allocated as effects returns should not mute when solo is activated.
MIDI The Musical Instrument Digital Interface (MIDI) was originally conceived to standardise the interconnection between keyboards and other instruments. It is now found on all types of equipment including sound and lighting consoles, effects devices and computers. Sophisticated recording is now possible by interfacing sound consoles with other MIDI equipment. The GS3000 includes a full opto-isolated Musical Instrument Digital Interface (MIDI) system.
Channel Mutes Pressing any console mute switch transmits a MIDI Note On message unless MIDI has been disabled. Similarly receiving the correct Note On message will control the channel mute unless it has been made 'mute safe' or MIDI disabled. Console mutes are mapped to MIDI Note numbers as shown. Running status is supported on receive and transmit.
MIDI Dump Data When a MIDI DUMP OUT is performed the entire contents of the console memory is transmitted down the selected MIDI channel. This includes the current console mute settings, mute groups, patches, safe settings, solo settings, console modes, and console MIDI channel number. When a MIDI DUMP IN is received the console memory is completely overwritten. This is ideal when you want to archive settings and recall them at a later date, for example a re-run of a previous mix.
MIDI MACHINE CONTROL (MMC) SHIFT HOLD FOR SHIFT FUNCTION The transport controls located in the automation channel of the GS3000 enables your multitrack tape machine, hard disk recorder, VTR or MIDI sequencer to be stopped, started, fast forwarded, rewound, marked and located and to record/replay from the console. The GS3000 uses MIDI machine control via the MIDI connection.
TECHNICAL SUPPORT Should you have any queries about the GS3000 console automation system please quote the console model, serial number and software version number in any communication with Allen & Heath or appointed service agent. If a problem is encountered, check first that external equipment is correctly connected and functioning as intended (or disconnected to test the console itself). Check the console has been correctly set up, and that the mains power is correct for the power unit.
ERROR MESSAGES In the event of an automation error an error message is displayed. This is a two part message comprising an error number and an error code. For example, should a MIDI Dump In error be detected the following error number will be displayed: En0 Press any automation key to show the error code, which gives further information about the error. Ec1 Press any automation key to clear the error display and return the system to normal operation.
FRONT PANEL LAYOUT 30 - 5 20 40 20 MIC LINE 50 - 10 10 " 60 40 ' 0 - 5 20 CHAN MON 0 - 10 10 60 40 60 40 CHAN MON 120Hz 6kHz % 0 1 % + 10 120Hz 7.
REAR PANEL LAYOUT SPECIFICATIONS 0 dBu = 0.775 Volts rms 0 dBV = 1 Volt rms HEADROOM:............................................................ +21dB MAX OUTPUT:.............. ……………21dBu 2kohm max load METERS: Groups 1-8, L, R .........peak reading 12 bar LED PEAK LEDs: ........................... Turn on 5dB before clipping FREQUENCY RESPONSE referred to 1kHz at +4dBu: Any input to any output................. 20Hz to 20kHz +0/-0.
in thru MIDI 3 CONTROL ROOM main monitors near field monitors MIDI in 2 stripe tape with timecode or L Engineers Headphones CRM ALT Dubbing can be performed without affecting any other console operation. MMC transport control Monitor R phones socket under armrest Record to stereo input or 2 I/O channels panned L & R D.I.
MIDI in in in thru in 2 TRACK MASTERING 3 Timecode to sync sequencer with tape CONTROL ROOM main monitors near field monitors 2TRK 3 2 out MIDI SQUENCER thru 2TRK 2 or in R L 2TRK 1 SOURCES Playback MIDI thru in VOICE MODULE CRM ALT MMC transport control & recorded mutes on sequencer 2 track dubbing CRM MAIN up to 8 additional effects from groups 1-8.
GS3000 SYSTEM BLOCK DIAGRAM
