Allen & Heath GL4

Console touring par excellence!
In 1994, GL4 was introduced during the heyday of the English brand Allen & Heath, for a specific purpose: to give maximum flexibility to ingéson, hence its designation of OFFICIALLY "MULTI FUNCTION CONSOLE LIVE" ... . reinforced concrete designed for touring under very severe (and often ruthless with the stuff!) It takes the concept has much of Allen & Heath REVERSABILITY with nine different modes, selectable independently, and combinnable! Have can use the fader for the group, reverse L / R with the matrix, the linker to send with the matrix, and all this without modifying the internal routing ....

The GL4 has been designed for four main applications: Front Of House (Mix facade), the stage monitor (back mixing), the recording (8 or 16 tracks), and finally three at a time (FOH / monitor / recording) ... of 9 or modes reversabilité possible! ...

Originally the GL4 version available 24 / 32 or 40 mono channels (modular tray 8) each with eight sub-groups and LRM mix (Left Right Mono). But Allen offers in his catalog of bin 8-channel stereos ramplacer for the single tank, or the extension rack. It is therefore possible to extend its framesize total 48 channels. And in case 48 channels are not enough is linkable to another console Allen & Heaht LINK SYS using the linker that allows multiple consoles to add channels while sharing the same routing to and common to the buss.
GL4 is the partially automated since it has a mute function automation (see below) and allows a lot of external control over the south.

In addition to the eight sub-groups it has a 11 * 2 matrix under conditions of very appreciable mix of live or recording application.
Routing to 10 (yes I did say 10!) Is very versatile with a subpoena pre / post by 4. of departures is to check 10 faders (reversible with groups) and the return of 10 rotating (also reversible!). brief ... routing is that level of happiness

Technically, GL4 found on almost everything you expect from a console (split):
- 48voies (mono / stereo) 8 ss groups to send 10, 8 returns, 11x2 matrix, LRM mix, many possibilities routing, up to 16 return magneto (MULTITRACKIN mode)
- Mute automation, midi control, Syslink, etc..
- All connections are balanced (balanced) Mic, Line, inserts, direct outs,
- XLR outputs for the groups, LRM mix is ​​to let a total of 21 balanced XLR departure!
- Inserts the groups and the main mix RSM,
- Supply RPS5 and RPS10 Rack (possibility of two redundant power supply)
- Grounding of the chassis and separate audio 0V
etc..

UTILIZATION

In addition to having been carved out of rock (I know already told j'lai ) The GL4 is also designed with a sense of ergonomics in the extreme ... Version 48 is 167cm wide by 75 deep (which is quite compact for a 48 touring). It features a master section very well designed and readable quickly, the first man who ever used a console in her life.

ALPS faders are 120mm, not as accurate as the Penny & Gilles, but much more resistant! The 11 bus (in groups) make a very good console for monitoring and especially for the recording. (Each buss out on the balanced XLR NEUTRIK) and matrix (output A / B balanced XLR)
Deplus each tract has an output post fader balanced Direct Out (editable pre fader), which is no less than 45 attractions suitable for recording in the case of a model 32 (32 d.out grp + 8 + LRM + A / B = 43!)

The GL4 has multiple mode for recording (live or studio) with a specially designed for 8-track recording with 8 magneto return on fader groups (groups being then returned to the fader) and a mode can benefit from 16 back magnetos on faders and groups while retaining the 40 channel faders available ... and more importantly for purposes of recording necessittant recording a maximum of ways you can use the 32 live out in symmetrical fashion post fader / post mute or switch the mode pre fader. Ditto for the inserts that can be passed post fader (which included a doubling of Direct outputs for a total of 64 direct outputs which added the 11 buss to come !!!!!)

Originally the GL4 bargraphs has 11 (12 LEDs) for groups and mix that can be switched to display the matrix or even to. There is also a band of Level Meter (11 seen) but unfortunately no headband with a view for every ... That said every one peak meter displays (3 LED) next to the fader indicates the signal status (GIS / 0dB / PEAK)

Moreover, the system has a GL4 cut routes in groups called MUTE GROUP ... which allows pre-programmed sequences to put out the mute channels 1 or 16 for example, or return to the groups or the lines or line 2 and only 32 ... brief .... what we want since it is the user who pre-program and who simply press a button to activate 8 "mute group" it is even possible to add the sequence of mute
Moreover the GL4 be connected in midi which allows automation of MUTE, or to a controller via automated patchbay mute control group, or start a MIDI sequence that simultaneously trigger the Activia has a mute group .... bcp brief opportunities

Having said that to avoid accidentally ingéson endorse a button that will cut the complete routing of the console in full mix it is possible to declare certain lanes "SAFE": namely that they will no longer be in affect by the MUTE GROUP automation ....

Detail but which is important: the mute button does not maintain position down ... and then you tell me ... eh ben ca Extremely precise triggering allows a contrast to consoles or is cut back qd button! It sounds silly but for me it counts!

hmm ... since it must be good to find a default (otherwise it is not credible ) I would say that the return to that are routable to mix L / R ... and I would rather have the option of routing ...

SOUNDS

The preamp section is very good quality sound is very rock (like most of Allen) without being able to talk about color (Total Harmonic Distortion has 40 dB <0.006%) give some momentum to his side and especially the LIVE as appreciated ... It provides a headroom of 6 to 60dB on mic and -14 to 40dB on lines, enough to allow him to spit out what she has in the belly! there are many on-20db attenuation pad and the phase inverter and a power supply 48 v on each slice.
A very interesting thing about the design according GL4 is the system of "minimum signal path" dear to the grossed consoled English (term coined by Davis in Dreadon & DDA), which consists in ensuring that the path followed by the audio signal is minimum and requires a minium of components to avoid any changes of its ... hence the name "High Performance Circuitry"
So according to this logic the GL4 works at a level of internal and-2dB headroom a constant 23 db (!) The output it provides a very large headroom of 27 dB (!) All had very high impedance of 600 ohms for a balanced output and 2K ohms unbalanced output .. and all this over a bandwidth of 20Hz to 30 kHz 0db ... The clipping was done 12 VU (of which grow well into the red without flatten the sound and make him spit his venom!)

But his main strength is VERY equalizer! ... have to say GL4 it is "capable of retuning a snare !!!!" I suggests its ability to equalization in the ... it shows no less than nine knobs for EQ and a switch circuit to switch the EQ on / off. Concretely it is a rare type of eq 4, as there are bands FULL SWEEP (chque band semi-parametric) and the lowest in acute shelve (plateau) the high medium and low medium in peak / dip. Every s&#39;equalise -15 to 15 db and 20 Hz (low) to 20kHz (high). Ca actually covers the entire audio spectrum ... Add to that a low cut sweepable rotary that rule from 0 (off) to 400 Hz and understand why the EQ section works so well ... what is more and more be extremely precise it is also very musical introduces only very few of breath even while band has opened 15 ... Eq a brief thunder very valuable to correct defects or acoustic instruments instead of ringing machines (sampler, synth) with a grain analog

OVERALL OPINION

The GL4 is a console that has been proven on all scenes in the world and in all conditions (FOH, monitoring, recording) and with larger groups (Rolling Stones, Beastie Boys, Magma, Dr Feelgood). .. It is also a console used by many producers seeking to provide electronic analog sound to their prod (Prodigy, Public Enemy, Roni Size)

In 1997 Allen & Heath GL-4000 launched, pale copy of the GL4 with the only change a 11x4 matrix (instead of 11x2) and a switch to control the Q band broadband or shorts on the high and low .. medium . but the GL4000 preamp does not sound as rock and its design is not as strong ...

Introduced during the heyday of Allen & Heath (long before the arrival of the ML series) and entant as "flagship" of the brand, GL4 is a console that runs alongside throughout his career and the largest midas even if its preamp are not the equivalent of eq XL4&#39;s the only one, well said it is "capable of réacordé a snare drum!"

now let&#39;s f * kin tune your snares and rock da beat!
PS: Sorry for the lengthy review but it is almost impossible to find info on the net GL4 I thought I had to leave a review as it is complete!