Allen Heath GL2200 for recording????

Discussion in 'Pro Audio' started by Ron Charles, Jul 13, 2003.

  1. Ron Charles

    Ron Charles Guest

    Hello Group,

    After posting a similiar request for opinions on the Soundcraft LX7, and
    looking at the console with my own eyes and ears, I have decided to instead
    consider the puchase of a Allen Heath GL2200 console with 32 inputs and 30+
    direct outs, to be used in our Film soundtrack recording studio along with a
    Mackie SDR24/96 HD multitrack.

    I realize this is not an inline console, and that I will have the need to
    repatch the input stips during overdub and mix mode sometimes, but anyone
    have any additional suggestions or warnings about using this specific board
    for multitrack recording.

    I am also open to suggestions on other possibilities for a good brand new
    console with minimum 24 ins/outs for less than $2250 USD.

    Anyone here first hand knowledge about.....
    1) Quality and warmth of the mic preamps.
    2) Range and warmth of the EQ section.
    3) Problems with interfacing with the SDR at 0dbu output.
    4) Overall service and maintence issues.

    Thanks in advance....

    Ron Charles
    FilmWorks Canada
    Ron Charles, Jul 13, 2003
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  2. Ron Charles

    Mike Tulley Guest

    I have used a GL2200-424 to track many live shows to an Alesis HD24.
    Here's a few comments:

    1. You'll need to go into the GL2200 and move the jumper (with a
    soldering iron) on every channel to change the direct out from
    post-fader to pre-fader. PITA!

    2. The level on the GL2200 direct outs matches up well with the inputs
    on the HD24.

    3. I think the preamps sound OK, and the EQ is decent.

    4. Get an outboard power supply. The internal one is barely enough to
    run the 24-channel board. I haven't tried the GL2200-432.

    In the end, I'm happy with my GL2200-424 + HD24 combo.

    Mike T.
    Mike Tulley, Jul 14, 2003
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  3. Ron Charles

    Ron Charles Guest

    Thanks Mike,

    I have 2 quick questions for you regarding the Allen Heath GL series

    1) Why would I want to use the pre-fader direct out in studio situations as
    opposed to the post fader that is is configured with from the factory. If I
    go pre-fader, then I assume I would have only the input gain to control the
    level to tape.
    I could understand the change to pre-fader direct out when doing PA and
    simulatanosously going to tape, but I will not be doing that with this

    2) The Allen Heath user guide says that that the Mic Pad switch is
    functionally only when an XLR is connected. Am I correct in assuming that
    that switch also functions as a mic/line switch when both TRS and XLR inputs
    are connected????. If so I assume I could switch between mic in and tape
    return using this switch when both are connected.


    Ron Charles, Jul 14, 2003
  4. Ron Charles

    Arny Krueger Guest

    Why not just record off the inserts?
    Arny Krueger, Jul 14, 2003
  5. Ron Charles

    Mike Guest

    The point is in a live show you don't want to ride herd on it at all
    and you don't want the level changes to reflect those you are making
    for the live show which may not be the correct ones for the recording.

    Mike http//
    Mike, Jul 14, 2003
  6. Ron Charles

    Greg W. Guest

    I love mine! (It is the 32 channel version.) An SSL or Neve it isn't,
    but the price was right, and I love the sounds I'm getting. I don't
    think it specs out as well as a Mackie or Behringer, but the sound
    quality is much better...dare I say that the pres and EQ are much
    "warmer?" "Warmth" is just one of THOSE terms. We all know what we
    mean, but nobody can put a finger on just exactly what it means.
    Whatever, I'm happy with the board, and that's that.

    I use the console in the split mode. You don't have to press any
    buttons or resolder anything. I usually don't record more than 16
    channels at a time. So, I use half of the console's channels just for
    their pres, and the other half (channels 1-16) for monitoring...or for
    an FOH and stage monitor mix. The outputs of the recorders go to
    channels 1-16. It's not how everyone does it, but it's worked just
    fine for me. I also have some outboard pres. They go directly to the
    recorders (TASCAM DA-78hr) and then to channels 1-16.

    (Well, OK, technically I use 1-14 and 17-18, because 15 and 16 are FX
    returns or some damn thing without line inputs...I call those the "AH
    channels!" :) I have that taped to the console...)

    The channels being used for their pres aren't assigned anywhere. The
    fader is at unity, the channel is un-muted, all the auxes are down, EQ
    is off, and I'm taking the signal from the direct out, unbalanced.

    From a happy A&H customer.


    N.O.M.A.D. Travelling Recording Studio.

    "Keep it off my wave" -Soundgarden

    "America may not be perfect, but it's done fu***** all right by me."
    -John Valby
    Greg W., Jul 14, 2003
  7. Ron Charles

    Arny Krueger Guest

    I'd like to see a survey of inserts with something inserted versus inserts
    with nothing inserted. I'm not saying that nobody actually uses them for the
    purpose, but I'll bet the number in use is a solid minority.
    Arny Krueger, Jul 14, 2003
  8. Ron Charles

    Mike Rivers Guest

    In live sound, they're used quite a bit, but in recording, other than
    when you're using the console busses (and NOBODY does that <g>)
    there's usually another place where you can connect whatever you'd
    connect via an insert.
    Mike Rivers, Jul 14, 2003
  9. for a typical dual
    mode live/recording setup.


    Roger W. Norman
    SirMusic Studio


    Roger W. Norman, Jul 17, 2003
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