As pioneers of dual functionality, we have ensured that every detail of the concept has been carefully implemented with no controls redundant in either mode. When mixing Front-of-House, the monitors can be set pre-insert as well as pre-EQ to prevent your house mix EQ and compression affecting the stage mix. Per channel aux switching means you can mix pre-fade with post-fade sends such as theatre radio mics and sound effects. As a monitor console, the aux masters get faders, inserts, mutes, meters and balanced XLR drive. You even get a fader controlled engineer’ wedge feed. The Groups and LR mixes are still available to create yet more sends. In monitor mode the GL2400 can provide up to 10 mixes, for example 6 wedge and 2 stereo IEM.
Our new mic preamp has an extended 74dB gain range with massive headroom able to deal with the widest range of signals right up to 34dBu. From our new low-noise mix amp through responsive 4 band EQ to the differential balanced 26dBu outputs, every stage has been carefully designed to ensure optimum gain structure and the best sonic performance possible.
There are three master faders on the GL2400. Our configurable M fader lets you create an LR sum mono fill, an engineers monitor wedge feed, or a dedicated centre or sub-bass speaker mix from Aux 6 which means you can dial in exactly what you need from each channel. L, R and M each provide a dedicated meter, mute, AFL and balanced XLR output.
The matrix is a big feature for corporate AV work, specialised recording and broadcast feeds, and personal monitoring. Smart auto-switching of the external inputs lets you add a common mono, stereo or independent sources to the matrix. Cross patch from the stereo channel mic breakpoints to add room ambience to your recording and IEM feeds.
Dual Stereo Channels:
These two multi-function channels provide a mic and 2 stereo line inputs each. Use the channels as mic inputs while the 4 stereos are independently routed to LR, or combine stereo sources such as backing tracks and reverbs while the mics are patched elsewhere, or use conventional stereo channels while the second inputs provide additional returns and the mics patch into the matrix for ambience.
True versatility in a tiny space…
24, 32, 40 channel frames
LR and M main outputs
4 Audio groups with pan control
6 Auxiliary sends with per-channel pre/post fader switching
2 stereo channels each with mic and dual stereo line inputs
Proper dual functionality for FOH and/or Monitor mixing
M can be configured as LR sum, Wedge, or Aux-Fed Sub or C master
Recording capable with channel direct outputs
Matrix external inputs with level trims and common input capability
Stereo channel line inputs can be independently routed to LR
Stereo channel mic input breakpoints for cross patching into matrix
Responsive 4 band, 2 sweep EQ
100Hz channel high pass filters
Individual phantom power and Polarity switching
Dedicated Channel, Master and stereo Monitor meters
Internal jumper plugs for pre/post-EQ aux, direct out and other options
Mutes, meters and AFL on all fader masters
1kHz oscillator and pink noise generator
2-track monitoring and replay to LR
Headphones and local monitor outputs
Electronically balanced XLR outputs with 26dBu drive capability
Preamp 34dBu maximum input capability for mic or line
Ultra low noise mix head amp design
Internal power supply with MPS12 backup supply input (16 to 32 models)
External RPS11 power supply and socket for backup supply (40 model)
100mm dust protected faders
Metal jacks, gold-plated XLRs, sealed pots and switches
Individual circuit card assembly with nutted pots
Solid copper bus bar grounding
Sys-Link V2 console linking option
4-pin XLR lamp sockets