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GLOSSARY
GLD-80
GLD is a user-friendly, cost effective and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. Plug n? play I/O expanders make it easy to build systems with up to 48 mic inputs, supported by a full suite of apps, software and personal monitoring solutions.
At the heart of the system is the GLD-80 mixer, providing 48 input processing channels, 8 stereo FX returns fed by our acclaimed FX emulations, 30 configurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise. Now available in a new GLD Chrome Edition, with sleek new styling, Automatic Mic Mixing, new embedded plugin FX and new compressor models on all channels.
Features
GLD-80 has an analogue-style channel processing control section complemented by a graphical 8.4 inch touch screen. A fully-customisable drag ?n drop layout allows quick and easy assignment of inputs and mixes to fader strips. There are 20 fader strips in 4 layers, each with motorised fader, a channel LCD display which can be named and colour-coded, plus a rotary control for direct access to gain, pan and aux/FX sends. The mixer?s local I/O comprises 4 XLR mic/line inputs, 4 XLR line outs, 4 RCA inputs, 2 RCA outputs, and digital outputs in SPDIF and AES3 formats.
GLD-80 connects to a range of plug ?n play I/O racks to build systems with up to 48 microphone inputs. A primary AR2412 or AB168 dSNAKE device, a secondary (daisy-chained) AB168 or AR84, and a further AR84 expander rack can all be connected over 120m CAT5 runs using A&H?s dSNAKE protocol. dSNAKE provides control to the remote preamp, and automatic firmware updates to the AudioRacks. All dSNAKE ports are also compatible with the ME Personal Mixing System.
GLD has the ability to record and playback a stereo signal on a USB memory stick. Standard iLive audio I/O option cards for Dante, MADI, EtherSound and Allen & Heath?s ACE protocols can be fitted, allowing multi-channel record/playback, FOH/monitor splits, and connection to A&H iLive systems, which can easily be configured using GLD?s extensive soft-patching.
GLD offers 6 compressor models, all freely available on all input and mix channels. The models capture the audio nuances and non-linear ballastics of industry classics, ranging from slow-opto release, RMS detection, fierce Punchbag,through to super-fast peak compression/limiting. All models also encompass additional essential features, parallel path mode for convenient wet/dry compression balancing, comprehensive sidechain filter and gain reduction histogram.
GLD?s new advanced automatic mic mixer (AMM) features make it perfect for mixing conferences, panel talks and TV shows. The AMM can be configured to work across 44 microphone sources, allowing the user to select which inputs should be auto-mixed without the usual restrictions of a 16 channel insert based system. The AMM can be set to work in two modes ? ?D-Classic? dynamic gain sharing for a simple quick set-up, and ?Number of Open Microphones? (NOM) logic gate technology for a more flexible and sophisticated auto mix.
GLD offers 8 stereo RackExtra FX engines with the additional buses and channels to handle them all without compromise, including 8 dedicated short returns with 4-band PEQ. Each FX engine has access to a Library containing no less than 19 different units and hundreds of editable factory presets. The full spectrum of FX units is included, such as reverbs, phasers, pitch shifters, sub harmonic synthesizers, transient processors and rotary speaker emulators. All units have been recreated with familiar knob layouts, and back panels for patching as send/returns or as channel inserts. Whether it?s for taming vocals and instruments, polishing mixes, or being creative, a full menu of dynamic tools is also on offer, including de-essers, Multiband Compressors and Dynamic EQ.
The GLD Remote app provides wireless control for GLD-80, giving the engineer the freedom to walk the room or stage and control the sound right where it is needed. GLD-80 and GLD Remote can work together to provide simultaneous control of independent functions, for example one engineer using the console to mix FoH sound and another using the iPad to mix monitors on stage.
Features Summary
- Compact digital mixer with scalable, remote I/O
- Systems from 4 to 48 mics
- Easy to use, quick to access, analogue style interface
- dSNAKE Cat5 digital snake?up to 120m cable length
- 8.4 inch colour touchscreen for graphical view and setup
- 20 faders, 4 layers, 80 channel strips in a freely customizable layout
- 48 input channels into 30 assignable buses (Aux, Group, Matrix, Main, FX Send) into 20 mix outputs
- 8 stereo RackFX engines with dedicated ?short? returns with 4-band PEQ
- Full processing on all inputs including trim, polarity, HPF, insert, gate, 4-band PEQ, compressor and delay
- Full processing on all outputs including insert, PEQ, GEQ, compressor and delay
- Deep processing embedded plugins including GEQ and compressor models
- Automatic Mic Mixer with up to 44 microphone sources
- LR, None (monitors), LR+M (sum), LR+M (bus), LCR main mix modes
- USB stereo recording and playback
- 16 DCAs / mute groups
- Built-in Talkback, RTA and Signal Generator
- I/O module options for FOH/Monitor split, multitrack recording, link to iLive and more
- MIDI In/Out and Ethernet Network port
- Compatible with ME Personal Mixing System
- High end 1dB step recallable mic/line preamps
- User definable channel names and colours
- Engineer?s mono Wedge and stereo IEM strips
- Input, output and insert soft patchbays
- Quick copy, paste and reset of mixes and parameters
- Libraries, Scenes and Show memories with USB transfer
- Scene Filters, crossfades and automated recalls
- Get started quickly with Template Shows
- Password protectable user profiles
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Used Allen & Heath
Allen & Heath was in the vanguard of the first wave of great British mixer companies, starting life at the heart of London’s swinging music scene in 1969.
In those early days we hand-built mixers for the top bands of the era, including Genesis, Pink Floyd and The Who.
Fast forward to the second decade of the 21st Century and as well as touring with the likes of Lewis Capaldi, Bring Me the Horizon and Billie Eilish, we’re proud that the A&H range is used and loved by gigging bands, rental companies, installers, houses of worship, DJs, clubs, broadcasters and studios across the globe.
Digital Mixers
Our current digital console range spans four iconic series, each a class-leader in its own right. The 96kHz dLive pro touring and installation family is founded on a uniquely flexible architecture, underpinned by the mighty XCVI FPGA core. Avantis is the latest 96kHz addition, turning heads with its twin HD touchscreens, super-slick Continuity UI and tough full metal chassis. Our SQ mixers have taken the audio world by storm, bringing full format features and exceptional 96kHz audio performance in a compact footprint. Completing the digital ‘big four’, the Qu series’ peerless ease of use makes it a much-loved industry standard that finds a home wherever the music plays.
Analogue Mixers
In the analogue domain, we carved out our hard-won reputation for bulletproof build quality, rugged reliability and excellent audio quality with the tried and true GL and MixWizard consoles.
Today’s ZEDi mini mixers are the direct inheritors of that legacy, offering the premium alternative in an analogue market flooded with forgettable budget desks and interfaces.
Xone DJ
For over 20 years Xone has dominated the sound of superclubs, festivals, warehouse parties, sunset bars and underground clubs all over the world, from Berlin to Miami, from London to Ibiza.
The Xone sound is legendary; pure analogue warmth and punchy bass combined with the best EQ and filters in the game, all delivered with a sonic clarity that leaves other brands in the dust.
It’s no surprise that Xone DJ mixers are the choice of some of the most respected names in the business, the hottest emerging artists, and the stars of tomorrow.
Wherever you are on your DJ journey, it’s time to get in the Xone.
Installation Products
Allen & Heath has been developing dedicated installation products since the mid-1990s, bringing the brand’s signature audio performance and reliability to environments as diverse as banks, cruise ships, restaurants, hotels, houses of worship and anywhere people gather to communicate and celebrate. 2020 witnessed the arrival of the powerful new AHM-64 installation audio matrix processor, backed by an unrivalled ecosystem of scalable I/O, control and Dante solutions, with the AHM-32 and AHM-16 joining the family in 2022.
Designed in Cornwall in our state-of-the-art HQ
We are proud to design and specify all our mixers here at our state-of-the-art headquarters in beautiful Cornwall, UK.
We have one of the biggest and best R&D teams in the industry, keeping us at the leading edge of mixing technology and constantly striving to create the best possible mixing experiences. Many key members of the Allen & Heath team are active sound engineers with years of hands-on experience, and we’re fortunate to have a network of leading audio professionals whose feedback helps to shape our designs to meet our customers’ real-world needs.
From the tiny ZEDi-8 to the largest dLive pro touring system, all mixers bearing the Allen & Heath logo are designed to our exacting audio and build quality standards. With a strong team behind us and our best-ever product range, we’re looking forward to playing a leading role in mixing technology in the years and decades ahead.
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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.
Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.
Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.
Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.
Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.
FM: Frequency Modulated.
Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.
Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.
Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.
Gain: Increase in level or amplitude.
Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.
Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.
HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.
HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.
High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.
Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.
Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.
Integrated Amplifier: A combination preamp and amplifier.
Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.
KHz: Kilohertz or one thousand Hz.
Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.
Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.
Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.
lockout: The final words of a segment used to signify the production’s conclusion.
Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.
MHz: Megahertz, or 1 million Hz.
Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.
Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.
Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.
MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.
Mono: Monophonic sound. One channel.
MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.
Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.
Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.
Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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