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ALLEN HEATH ML5000 PDF

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Connect. Allen & Heath on Twitter Allen & Heath on FaceBook Allen & Heath on YouTube Allen & Heath on Instagram Allen & Heath on LinkedIn. Manual, or approved by ALLEN & HEATH. 3. Any necessary . The Allen & Heath ML is a large format VCA equipped dual function live sound console. It. Manufactured in the United Kingdom by Allen & Heath Limited. Kernick Industrial Estate User Guide or Service. Manual, or approved by ALLEN & HEATH. 3.


Allen Heath Ml5000 Pdf

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View and Download ALLEN & HEATH ML user manual online. Dual Function Live Sound Console. ML Music Mixer pdf manual download. the principles applied within the Allen & Heath ML Series consoles (the. ML, ML, and ML currently offer this asset). The acronym VCA stands for. Download ALLEN HEATH ML service manual & repair info for electronics experts.

The input channel strip is identical to the main console with all functions available. The groups and snapshots are controlled from the main console. Up to two gooseneck lamps part AL may be plugged into the rear of the meterbridge.

Note: This sidecar may be used with the ML only. It is not suitable for use with other consoles or as a stand alone console. One or two sidecars may be connected allowing a maximum 96 input channels.

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Do not connect more than two sidecars. Connecting the Sidecar to the Console Diagram 1 shows the cable routing for connecting the sidecars to the ML Refer to Diagram 2 for connecting one sidecar.

Refer to Diagram 3 for connecting two sidecars. We recommend that you label the cables A, B and C to avoid them being swapped if replugged.

SOUND ON SOUND

Where there's a wedge, there's often a 'side-fill'. The best way to use wedges is to give each performer their own, and place them as close to each individual performer as possible. However, some performers are not content to stay rooted to the spot and want to take advantage of other areas of the stage to strut whatever stuff they happen to be in possession of.

So these areas are covered by larger 'side-fill' monitors. Unfortunately, side-fills are where everything starts to fall apart. A five-piece band with five separate wedge monitors puts a lot of sound on stage, and since it is impossible to focus sound precisely, there's a lot of spill flying around which does nothing but confuse the sound for everyone.

Add side-fill monitors whose whole purpose is to fill the stage with sound and you have a recipe for a sonic disaster.

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One common complaint among musicians on stage is that the sound is loud but they can't hear anything. This may seem like an oxymoron, but it can easily happen, so side-fills are not a category of equipment that should be used automatically.

They should be used when they are needed, and precisely where they are needed. The rule is only to direct sound at parts of the stage that will actually be used, so if a performer wants to be spontaneous and use an area of the stage that wasn't planned to be used and isn't covered by side-fills, he or she will have to adapt to that localised situation.

The alternative is to compromise the sound all round. Amplification For Monitors The first law of amplification applies to monitors too. It's the one that states that the amplifier should have more power than you would ever possibly want to use, for the particular application you have in mind.

There's still a general feeling around that if you have a speaker that claims to be able to handle W, the amplifier should be no more powerful than that, 'to be on the safe side'. If that were the case, it would make sense to manufacture cars that could go no faster than the maximum speed limit. But with a car we all know that it's better to have power in hand, and it's exactly the same with amplifiers.

Small amplifiers struggle, big amplifiers breeze through — but the engineer has to be in control. The power-handling capability of a small wedge monitor might be a mere W, which honestly ought to be easily enough, given that they are always used close to the performer. Some, however, claim to be able to handle up to W, and the odd one even more. Some monitors feature 'loop-through' input connectors so that the amplifier can be connected to one wedge, then on via the loop-through to another wedge.

This is useful for small-scale systems, as you don't need so many amplifiers, and in general any decent amp should be able to drive two wedges without trouble. However, this reduces flexibility and should only be considered as a 'rung on the ladder'. Soundcheck Protocol Anyone who has played live will understand the rules of the game when it comes to soundchecks. The headline act gets as much time as they like, the support act gets barely enough.

If there are additional support acts, some might even get no soundcheck at all. I've seen that happen. But a good rule of thumb is that things should come together within three songs. For that to be possible, both the band and the engineers need to have good soundcheck technique.

For the band, this will mean choosing songs that reflect the typical sonic content of the show as a whole, and having an individual awareness of what they want to achieve from the monitors, which they should already have communicated to the monitor engineer. For the engineers, really it's down to experience and getting more and more practice, leading simply to knowing what to expect in the majority of circumstances. Granted, there may be the occasional Guatemalan marimba orchestra to take care of, but vastly more often it will be a common-or-garden band line-up on stage.

One inconvenience of the soundcheck is that both the FOH engineer and the monitor engineer have to do their work simultaneously. Whereas the FOH engineer is left alone to achieve the sound he or she thinks is appropriate, possibly guided by the band's management, the monitor engineer will be in tight communication with the band.

One typical complaint made by bands, however, is that although the monitors sounded good during the soundcheck, everything fell apart during the show. Obviously, the monitor engineer must have done something different. But the monitor engineer swears blind that everything is exactly the same.

The cause of this conflict is spill from the front-of-house system on to the stage. When the auditorium is empty, during the soundcheck, there's a considerable amount of reflected sound coming back to the stage.

The musicians will base their requests for adjustments to the monitoring on the sound from the monitor system, plus the spill from FOH. But during the performance, when the audience is present, that spill is largely absorbed. Human beings are excellent absorbers of sound and suitable volunteers would make highly effective acoustic treatment.

Now that the FOH spill is absent, naturally the monitors will sound different. The solution to this is to soundcheck at least one song with the FOH system either completely down or attenuated by 20dB or so. This will give a much more accurate representation of what the monitors will sound like during the performance.

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The smaller and more reflective the auditorium is, the more relevant this tactic will be. This certainly can be done, but there are certain drawbacks. Firstly, let's consider where the monitor signal comes from The monitor signal could be exactly the same as the FOH mix, and in fact for side-fills it often is, but the requirements of monitoring are different from the audience's requirements.

So the monitor mix really needs to be a different mix from the FOH mix. Fortunately, every PA mixing console has the ability to let you set this up, in the form of pre-fade auxiliary sends. Each channel has an auxiliary send control, which is like another fader that mixes into an auxiliary buss and separate output from the console.

Using the pre-fade aux sends on all of the channels, a completely independent monitor mix can be created. But it would be an impoverished console that only had one set of pre-fade auxiliary sends; most have at least two pre-fade aux busses.

This means that, providing there are at least two wedges and two channels of amplification, there can be two completely independent monitor mixes — one for the vocalist and one for the rest of the band, most likely. Some consoles have even more pre-fade auxiliary sends. What are not useful, however, are post-fade auxiliary sends. Post-fade auxes take their signal from after the fader. Plainly, this is totally unsuitable for monitoring. The mix the performers hear would be affected by levels that were changing according to the requirements of the FOH mix.

When this happens, either by accident or incompetence, it's very uncomfortable for the performers. So we've established that a monitor mix can usually be made from a properly specified FOH console. The front-of-house console may only have a small number of pre-fade auxiliary sends. The multicore cable might already be close to being fully occupied with incoming signals and outgoing FOH PA signal to the amplifiers.

It's another job for the FOH engineer to look after. There's a likelihood of poor communication between the performers and the FOH engineer. Suitable Consoles For Monitoring Deciding on a mixing console that is suitable for monitoring is easy: it has to have plenty of auxiliary sends.

There isn't necessarily a difference between an FOH console that is suitable for monitoring and a dedicated monitoring console in this respect. As long as there are plenty of aux sends, it's good for monitoring. Of course, where an FOH console is to be used with a separate monitor console, the FOH console doesn't need all those auxes, or they can be used for effects sends if desired. Will a band really require that many different monitor mixes remember that it's common for two or more performers to share a mix, through separate wedges?

Probably not, but auxes on this console are configurable as four stereo sends, stereo sends being eminently suitable for in-ear monitoring. Sending Signal To The Monitor Console If you have a very long memory stretching all the way back to the s, or if you watch archive performances on TV, you will probably have wondered why there were often two microphones taped together for each performer.

An ungainly solution, but what was the problem? In the case of an archive performance, the reason is possibly to take the signal from one mic to the FOH PA console and the other to a separate console for the film sound. But the other possible reason is to have one mic for front-of-house and the other for monitors. Schematic of a transformer mic splitter. Clearly, this is an inelegant solution and it's much better to use one mic for both purposes, or all three purposes if there is monitoring and recording as well as FOH sound.

One possible solution is to solder up a 'Y-cord'. A microphone can supply two inputs reasonably well, if not at tip-top quality, due to the extra loading.

The drawback, however, is firstly that a fault in the cable run to one console could short out the feed to both consoles. Also, the earth of one console is now connected to the earth of the other, resulting in a potential earth loop, creating hum.

This can be cured by removing the earth connection on one feed, but then that could sever the phantom power from a capacitor mic.

Y-cords have their place — mainly in the bin — and there is a better solution, which is to use a transformer mic splitter. The diagram on the right shows a schematic of a transformer mic splitter.

You could make one if you're technically minded — check with Jensen or Sowter for suitable transformers — or you can download one from BSS Audio, EMO or a number of other manufacturers.

They don't seem to be widely promoted, which is odd given that they're so useful. You can see if you trace the signal that the mic is connected directly to one mixing console, but via the transformer to the other.

Using two transformers, a third split can be created. The ground-lift switch isolates the earths of the outputs if necessary.

You might wonder which output goes to the FOH console and which to the monitor console, and it would seem that the FOH console is most important and requires the direct-wired output. However, this means a longer run for the phantom power for any capacitor mics on stage, hence it is better, by a small margin, to take this output to the monitor console. The sound quality will be indistinguishable in a live environment. Monitor engineers have to be able to hear the monitor mix or mixes clearly even in the high-noise surroundings of a typical gig.

Direct Sound's Extreme Isolation headphones, which offer up to 29dB of attenuation of outside sounds, are one solution to the problem. Positioning Of Monitor Console The best place for the monitor console is at the side of the stage. Which side is up to you. The monitor engineer might have a personal preference, it might be better to be closer to certain musicians, or there might be technical facilities or people on one side of the stage that you need to be close to.

The reason for having the console right there at the side of the stage is, of course, to facilitate good communication with the band. There's nothing worse than band members having to make obvious hand gestures that are visible to the audience.

When the monitor engineer is closer, a simple look in their direction with a suitable facial expression can convey the message that something needs attention of course, a really good monitor engineer would have pre-empted any problem in the first place! Naturally, the monitor engineer needs to monitor the monitor mix.

In fact, the monitor engineer needs to be able to monitor any of the several mixes he or she is creating. This can be done through soloing of the auxiliary outputs, on headphones so that the monitor signal is isolated from the clutter of sound on stage. Suitable headphones are the Extreme Isolation headphones by Direct Sound, which offer up to 29 decibels of attenuation of sound from the outside world.

They are as good as the ear defenders used by operators of pneumatic drills and by airport workers on the tarmac. One of the great things about headphones such as these is that you don't have to turn the volume up too much and possibly risk damage to your hearing.

Without such good isolation, the volume has to be turned up to compete. The other alternative is to monitor on a wedge, just like the musicians, and there's a good case for hearing the sound exactly the way they do. If I can be allowed a personal anecdote at this point, there once was an occasion when I was playing keyboard on stage and I was having considerable difficulty because the monitor mix I was hearing kept changing suddenly.

However, further consideration revealed that he was monitoring the various mixes on a speaker placed on a table upstage of the console. This speaker was firing directly at the back of the PA stack on that side and reflecting back towards me, so every time the engineer solo'd a different mix, I got it too!

The moral of that particular story is that the engineer should monitor on a wedge, or position his speaker downstage of the console. Just For Drummers Monitoring on wedges is generally workable.

But there is one musician in the band for whom wedges might not be enough. Yes, it's the drummer. The problem with drums is that they are so damned loud, so the wedges have to be even louder to compete.

In fairness, the rest of the band should really be following the rhythm of the drummer, so perhaps the drummer doesn't need to hear them so clearly. But he or she does need to hear the lyrics, so that he knows where he is in the song.

Who hasn't, at one time or another, 'drifted off' and forgotten how many verses have been played so far? Trouble is, it's sometimes the singer! The drummer also often has an additional need: to play to a backing track or a click track. If it's a backing track, it's OK to monitor this on wedges. But if it's a click, no-one else wants to hear that click, particularly not the audience. Playing to a click has surprisingly wide applications.

One, for instance, is musical theatre shows that incorporates dancers who sing. They actually don't sing, they mime to a pre-recorded vocal track, to which the drummer must keep time using a click. The answer to all of the above is for the drummer to monitor on headphones. This looks ungainly, but it works, particularly with the Extreme Isolation variety of headphones see previous page that considerably attenuate sound from outside. In-ear monitoring can work well too, but the earpieces don't provide so much isolation.

One further refinement for drummers is the 'ButtKicker'. Yes, really. The ButtKicker contains a linear motor very much like a conventional loudspeaker drive unit, but instead of having a conical diaphragm it attaches to the underside of a seat, upon which the drummer places his or her, er Low frequencies are therefore channelled to the drummer's brain in the most direct way possible! At present, there is no word on possible side effects Creating The Monitor Mix In creating the monitor mix, the monitor engineer clearly has to take into account any stated requirements of the band.

But he or she also needs to work on his or her own initiative — the band may express certain requirements, but they are not engineers themselves and cannot be expected to understand the whole of the process.

The difference between the basic monitor mix and front-of-house mix is that the monitor mix has to be effective. It doesn't need to be a wonderfully musical mix, but it must: Allow the musicians to play well together rhythmically. Tell the musicians where they are in the song. Allow singers to sing in tune, for which they need to hear themselves and harmony instruments. Allow string players in particular to play well and in tune, for which ideally they need to hear themselves, not just the whole string section.

Keep the drummer in time with the backing track or click track, if necessary. There are also artistic requirements: Band members should feel that they are performing well. The overall sound of the band has to be good for those performing on stage. If there is any spill into the front rows of the audience which there will be , it should not spoil the experience for them. Much of the above is handled by the selection and placement of monitors, bearing in mind that closer is nearly always better.

However, the mix needs to be handled sensitively too. Just as in a FOH or recorded mix, the priority is to evaluate which are the main instruments and sounds, and get a rock-solid mix of those.

In a typical rock band, then, clearly these will be the kick drum and bass you can't get far without getting those right , then the snare and hi-hat, the guitar and the keyboard and if there is more than one keyboard, the one that provides the harmonies most of the time will be the most important. All the other instruments are precisely that: 'other', and not nearly as relevant to the monitor mix. As an example, how often do cymbals, other than hi-hat, make an effective contribution to a monitor mix?

Hardly ever, and you may not even need to include them. It is very well worthwhile considering also how much sound is pumped on to the stage by the backline. Perhaps the guitarist doesn't need any additional level from his own instrument, or maybe just a little extra clarity rather than a full-blown contribution. One way to approach a monitor mix is to bear all of the above in mind, then construct one generic mix that should suit everyone, copy it to the other banks of auxiliaries and then add and subtract level from individual instruments in certain sends, according to the performers' various requirements.

Otherwise you'll have to construct each mix entirely from scratch and you probably don't have nearly enough time for that during the soundcheck. Above all, the vocal should be available with ultimate clarity to whichever performers have need of it.User Manual, The topic of feedback naturally brings feedback suppression devices into consideration.

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So that's all good then? Clearly, this is an inelegant solution and it's much better to use one mic for both purposes, or all three purposes if there is monitoring and recording as well as FOH sound.

When the auditorium is empty, during the soundcheck, there's a considerable amount of reflected sound coming back to the stage. One typical complaint made by bands, however, is that although the monitors sounded good during the soundcheck, everything fell apart during the show. Now that the FOH spill is absent, naturally the monitors will sound different. This version is the Perhaps eventually the solution would be for musicians to have aural implants, like George Bush allegedly , so they can get their sound directly, with no visible side effect.

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