Allen & Heath GL2800 and GL3800 Mixing Consoles
By Mark Amundson
When I first started shopping for an entry-level "professional" console, I purchased the Allen & Heath GL2200. And when I mixed on most of the club install rigs, I usually had Allen & Heath GL2200 or GL3300 consoles to work with. So when Allen & Heath put together the GL2800 and GL3800 consoles, I knew they had to work hard to make improvements on these GL-series workhorses. And all that work and customer surveying, by Carey Davies and crew at Allen & Heath, really paid off on the new GL-series consoles. Right from the start, I knew the very clean mic pre's and EQ sections of the ML-series went into the new Mix Wizards, and were destined for the GL-series. So, to check out the improvements, I had 24-channel versions of both the GL2800 and GL3800 sent to me for review.
The GL2800
While the GL2800 and GL3800 share many of the same features and architecture, the GL2800 takes on the look and feel of the GL2200 predecessor, with its stereo/mono channels at strip 15 and 16 and a straight, single-rank work surface with an eye toward many features at an economical price. The big changes are the eight subgroups from 4, and 10 auxes from 6. The channel strips got a minor revamping with the EQ section taking on the new mid-sweep ranges of 35Hz to 1KHz, and 500Hz to 15KHz with a Q of 1.8 for fairly narrow tweaking.
Gone are the internal power supply and BNC jack for console gooseneck lighting. Replacing the mini-switcher PSU are two metal connectors for one or two RPS-11 external power supply units. The RPS-11 units are built like tanks, and are highly reliable, three-rack-space, linear-regulated units. As with other newer Allen & Heath consoles, the console lighting has two or more four-pin XLR sockets rear-mounted for secure and generous task lighting. And Allen & Heath promotes its new LED-based 18-inch gooseneck lights for low-heat, high-brightness usage.
Running down the basics for you Allen & Heath non-believers, the preamps are high-quality transistor front-end circuits for +26dBu headroom (without the 20dB pad) and have a +6 to +60dB gain control range to handle every possible signal source. The line input on each channel strip has a TRS input jack and the 20dB pad inserted for a -14dB to +40dB gain range. Standard frond-end features like 100Hz, 12dB/octave high-pass filters, polarity and phantom switches accompany the pad switch to fill out the pre-insert electronics. After the TRS insert jack, the switchable four-band EQ section has 80Hz and 12KHz shelving bands along with the fixed-Q swept mid sections.
The auxiliary sends are grouped as 4 + 4 + 1 stereo, for 10 send busses. Part of the logic for the last pair of sends is for monitor use, where the console can be switched to eight wedge sends and three stereo IEM sends by using auxes 9 and 10 and the 12- by-4 matrix outputs. In the fader section, the 100m dust-sealed channel faders have the pan control (L-R) and channel assigns for the usual L-R, M, 1-2, 3-4, 5-6 and 7-8 subgroups. Four mute group assigns are added, plus wider angle visibility four-LED channel metering for -12, 0, +6 and peak indications. The peak LED illuminates about -5dB away from strip supply rails to give you fair warning.
The GL2800 and GL3800 master sections are about identical with two spare stereo line returns for effects or recorded source material. The 12-by-4 matrix mixing section is equipped with inputs from an external line source, the eight subgroups and L-R-M masters. Besides the now-standard group/aux flipping switches, the subgroups get the 100mm faders and more four-LED metering with L-R pans and L-R, M assign switches. Also in the master section is the cue wedge, or mono mix flip switch, to go along with FOH or monitor position dual functionality. And these consoles get the usual Allen & Heath treatment with extensive talkback and monitor source configuration switches and level controls.
The GL3800
The GL3800 is the "more, please!" version of the GL2800, in that it borrows the GL3300 meter-pod bridge with 11 VU meters for us old fart mixers who prefer the averaging ballistics of needles besides peak-reading LED metering. The version of the GL3800 that I received, in keeping with the GL3300 heritage, loses the channel 15 and 16 stereo/mono strips, so you will have to burn pairs of channels on stereo effects or CD playback returns. (There are two other versions of the console that include up to eight stereo channels.) But the GL3800 does upgrade the 100mm faders to a higher quality dual-rail fader. While some may dispute this, I preferred the GL3300/GL3800 console in permanent install applications because the meter-pod grows the roadcasing into very large sizing.
The Gigs
I took each console out to a couple of gigs to see if I could find something to write about. The biggest thing to note is that the improved quality of the mic pres and EQ sections, just took my mixes to the next level in sound quality. While the earlier GL models could hold their own against the MI and pro-sumer console offerings, they could not compete well with the new consoles brought out by competitors within the last year. Now with the GL2800 and the GL3800, Allen & Heath has the GL-series performing with the best of the mid-market professional consoles, and at prices that are about the same as the legacy models.
Looking for niggles, I really did not find anything in the consoles to complain about. The closest thing to a niggle for me was that the mid-sweep bands have the new design, and experienced GL2200 and GL3300 users will need some finger and ear retraining. I was hoping these consoles would have appeared a year earlier, but timing is only for Allen & Heath sales managers to fret about.
What it is: Workhorse mid-market monitor mixing console.
Who it's for: Anklebiters and local/regional soundcos that need reliable consoles for "C" rigs.
Pros: Economical, plenty of feature flexibility, quality signal processing.
Cons: None.
How much: GL2800-824 $4,599 MSRP, GL3800-824 $6,599 MSRP.
JBL VRX 900 Series Line Array
By Paul H. Overson and Andrew Pulley
When we first got word that we would be testing a line array, the first thing we both thought was, "Are you sure you want a bad product review?" Coming from a line of traditionalists, neither of us have really had a good experience with a line array up to this point, and we had heard through the grapevine that this particular unit had sound "issues," but JBL has launched an excellent-sounding product.
The Gear
Starting with the subs: Each VRX918S enclosure includes a single 18-inch neodymium woofer in a vented, front-loaded cabinet made of 13-ply birch. Coating the cabinet is JBL's DuraFlex protective coating. Each cabinet is capable of handling 800 watts continuously at 8 Ohms, and 3,200 watts peak, and will put out a maximum SPL of 130dB. Alongside the cabinet are the array frame mounts, which can be used in conjunction with other subs or with the mid/high cabinets. Other array configurations include the threaded pole which mounts atop the sub. The pole is very heavy-duty, and can be adjusted to whatever height will suit your application. Also, the threaded mount makes for an easy, more stable and much quieter way to mount the mid/high cabinets. All this within 20 by 23.5 by 29.5 inches (508 mm by 597 mm by 749 mm) and weighing in at 81 pounds (37kg) each, these cabinets are not as apt to break your back as other cabinets of similar dimensions.
The VRX932LA comes with a 12-inch midrange driver, front-loaded, as well as three 1-inch voice-coil, high-compression drivers, mounted into a horn that allows for 100° horizontal coverage by 15° vertical. It has a power rating of 800 watts at 8 Ohms continuously, and 3,200 watts peak, in passive mode. In active mode, the mid range can handle 800 watts continuously and 3,200 watts peak, while the high-frequency drivers can handle 75 watts continuous and 300 watts peak. The cabinet itself is made with 11-ply birch and is also coated in DuraFlex. Measuring up at 23.5 by 13.5 by 14.8 inches (349 mm by 597 mm by 381 mm) and weighing in at a measly 48 pounds (21.8 kg), these cabinets are, again, exceptionally small and light. The shackles along the side allow for a constant curvature setup, meaning you don't have to spend time learning how to manage the high-frequency coupling issues as you would need to with a variable curvature rig. On the back of the cabinet, there are many settings that can be switched, depending on the situation. These include a 3dB cut/ unity/ boost on the horns depending on the throw needed for optimum coverage, as well as a passive/active switch. However, the cut/ boost switches cannot be used in active mode. Both the subs and the mid-range cabinets are connected with Neutrik Speakon NL-4 connectors.
Upon opening the boxes that the VRXs were shipped in, we set the cabs up in a single sub/single mid-hi in passive mode. After tinkering with the settings/gains for the subs, we played some music through the system. We were met with clarity, definition and a fair amount of depth to the sound. We also tried the system in a three-way active situation and a four-way active system. Harman Pro graciously supplied us with a dbx DriveRack 480, in which we used the JBL factory settings. These sounded OK. However, at this time, it should be mentioned that we did not have access to power amps with the ratings that JBL recommended (Crown 3600VZs, with one channel per cabinet). Because of this, we ended up changing the original JBL tunings/crossovers to our own tunings to match our amp configuration. After spending a little extra time working that, we were very pleased at how smooth the VRXs could sound. It sounded like a system of a much larger size. When running the cabinets at higher dB levels, the sound stayed smooth. They didn't sound like they were being pushed, unlike other cabinets of similar size. These cabinets had certainly put a dent into our "small cabinet, small sound" theory.
The one gripe we had is with the quick release pins on the sub's suspension system. In transit to our first gig, due to some truckpack issues we had stored the subs on their sides in the trailer. When pulling the cabs out, we noticed that six of the eight total pins between all the cabinets had either bent or broken handles. The pin handles have a recess that they sit in, but the recess is only below the pin, so the pin handles have to rest in that direction, or else they protrude signifi- cantly from the sides of the cabinet, making them vulnerable to being bent or broken. The solution was to store them upright, which was manageable with a little bit of work. If there is any other comment on them, it would be that it resonates out the back and sides a little more than either of our liking. This really wouldn't be a problem when the cabs are flown, but ground-stacked, it was a little hard to carry on a conversation behind the array.
The Gigs
The first gig was a community anti-drug rally. The source material included guest speakers, singing/piano entertainment, minus tracks and DVD video. The location was a local junior high auditorium. We were allowed two hours to set up, as the school's drama department was doing rehearsals for their big play. It was set up in the four-way configuration. There were two subs and two mid-highs on the poles per side. The system went up with ease with three people, and we were able to be up, running and tuned for the room within an hour. The DVD came in last minute and delayed the start of the program, but after working through that, it was a problem-free show. As far as the room was concerned, we found ourselves wishing to either have the ability to fly the system, or to put in front fills, because 100° coverage was not enough to cover such a wide space. Even with the small dead spot downstage front, the rest of the hall had exceptionally smooth sound.
The next gig was a little more involved. It was a live band performing in the cultural hall (think high school gym) of a church. It was a local country/pop act that had six musicians; two on PMs, and the remaining four on wedges. The guitar and bass players all had their amps on stage, and the drums were not behind any sort of a baffle. All of this added a fair amount of stage noise into the mix. We used the same rig setup as was used in the community gig. Again, the system went up with ease and speed, but this time, we used an RTA program to tune the room. We also set the cabinets a little closer toward each other, narrowing the dead spot that there was in the previous gig. Everything was fully miked with intentions to push the system to its limits. During the gig, the system performed very well. In particular, the drummer, whose kit is very nice and very well-tuned, sounded excellent. There was plenty of bottom end and attack out of the kick, but it still left plenty of room for all the other instrumentation. On top of that, the VRXs had little trouble overpowering all the stage noise. It felt like mixing a full-blown rock concert out of those little cabinets. There was plenty of sound for at least 1,000 people coming out of those little speakers.
In short, coming in at about $1,399 (MSRP) per sub, and $2,399 (MSRP), the JBL VRX series still isn't quite a poor man's entrance into the line array world, but for the price, they are easy to use, have great sound and are very versatile. By the way, we've each become somewhat of a convert to the ways of this line array.
What it is: Entry level line array.
What it's for: Systems for hire, clubs, touring, installs.
Pros: Small, lightweight, easy to use, great sound.
Cons: Sub quick release pin handles can easily bend/break when not transported correctly.
How Much: $1, 399 (MSRP) per sub, $2,399 (MSRP).
