Allen & Heath ML4000 - Synergy Audio

Dual Function Live Sound ConsoleUSER GUIDEPublication AP4314

IntroductionThis user guide presents a quick reference to the ML4000. We recommend that you read this fullybefore starting. Included is information on installing, connecting and operating the console, paneldrawings, system block diagram and technical specification. For further information on the basicprinciples of audio system engineering, please refer to one of the specialist publications availablefrom bookshops and audio equipment dealers.Whilst we believe the information in this guide to be reliable we do not assume responsibility forinaccuracies. We also reserve the right to make changes in the interest of further productdevelopment.We are able to offer further product support through our world-wide network of approved dealersand service agents. You can also access our Web site on the Internet for information on ourproduct range, assistance with your technical queries or simply to chat about matters audio. Tohelp us provide the most efficient service please keep a record of your console serial number, anddate and place of purchase to be quoted in any communication regarding this product. The serialnumber is located on the rear panel.Check out our home site for information on the company and its pedigree, our full product rangeand our design philosophy. We also have a site dedicated to the exciting ML Series consoles.www.allen-heath.comwww.mlseries.comML4000 User Guide AP4314 Issue 4Copyright © 2003 Allen & Heath Limited. All rights reservedManufactured in the United Kingdom by Allen & Heath LimitedKernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UKhttp://www.allen-heath.com2 ML4000 User Guide

ContentsIntroduction.......................................................... 2Warranty............................................................... 4Important Safety Instructions .............................. 5Mains Plug Wiring Instructions............................ 6General Precautions............................................ 6ML4000 Key Features ......................................... 7Quick Start Sheet................................................. 8System Block Diagram ...................................... 10Technical Specifications.................................... 12The Range ......................................................... 13Installation Details.............................................. 13Connecting the Power Supply .......................... 14Turning the Console On or Off .......................... 14Earthing.............................................................. 15Rear Panel Connections.................................... 16Audio Connector Types and Wiring .................. 18Gain Structure.................................................... 19Control Layout and Description ........................ 20Mono Input and EQ ........................................... 22Using the Equaliser ........................................... 23Channel Group / Auxiliary Sends ...................... 24Channel Internal Link Options........................... 25Using the GRP/AUX Sends ............................... 25Channel Main Mix and Fader ............................ 26Removing the Fader .......................................... 27Checking the Channel Signal Level .................. 27Using LCRplus................................................ 28Stereo Input and EQ.......................................... 30Using the Dual Inputs ........................................ 31Group / Aux Fader and Rotary Masters ............ 32Configuring Groups and Auxes......................... 34Main Mix Masters............................................... 35Using the Engineers Wedge Monitor ................ 35Matrix ................................................................. 362-Track Output................................................... 37VCA Groups....................................................... 38VCA Groups Explained...................................... 38Assigning VCA Groups...................................... 40Mute Groups...................................................... 41Assigning Mute Groups..................................... 41Snapshot Memories .......................................... 42Channel Automation Safes................................ 42Headphones / Local Monitor / PAFL................. 43Oscillator / Noise Generator.............................. 45Intercom............................................................. 46Talkback ............................................................ 47Meterpod ........................................................... 48Meter Types....................................................... 49MIDI Overview.................................................... 50Changing the MIDI channel number................. 50MIDI Channel Mutes .......................................... 51MIDI Snapshot Messages ................................. 51MIDI AFL Messages........................................... 51Archiving the Console Settings ......................... 52Operating System Technical Support............... 53Operating Software Version Number ................ 53Loading New Operating Software..................... 53Console Reset ................................................... 53Blank for User Notes ......................................... 54Cue Sheet .......................................................... 55ML4000 User Guide 3

Limited One Year WarrantyThis product has been manufactured in the UK by ALLEN & HEATH and iswarranted to be free from defects in materials or workmanship for period of oneyear from the date of purchase by the original owner.To ensure a high level of performance and reliability for which this equipment hasbeen designed and manufactured, read this User Guide before operating.In the event of a failure, notify and return the defective unit to ALLEN & HEATH orits authorised agent as soon as possible for repair under warranty subject to thefollowing conditions :Conditions Of Warranty1. The equipment has been installed and operated in accordance with theinstructions in this User Guide2. The equipment has not been subject to misuse either intended or accidental,neglect, or alteration other than as described in the User Guide or ServiceManual, or approved by ALLEN & HEATH.3. Any necessary adjustment, alteration or repair has been carried out by ALLEN& HEATH or its authorised agent.4. The defective unit is to be returned carriage prepaid to ALLEN & HEATH or itsauthorised agent with proof of purchase.5. Units returned should be packed to avoid transit damage.In certain territories the terms may vary. Check with your ALLEN & HEATH agentfor any additional warranty which may apply.This product complies with the European ElectromagneticCompatibility directives 89/336/EEC & 92/31/EEC and theEuropean Low Voltage Directives 73/23/EEC & 93/68/EEC.This product has been tested to EN55103 Parts 1 & 2 1996 for use inEnvironments E1, E2, E3, and E4 to demonstrate compliance with theprotection requirements in the European EMC directive 89/336/EEC. Duringsome tests the specified performance figures of the product were affected.This is considered permissible and the product has been passed asacceptable for its intended use.Allen & Heath has a strict policy of ensuring all products are tested to thelatest safety and EMC standards. Customers requiring more informationabout EMC and safety issues can contact Allen & Heath.NOTE: Any changes or modifications to the console not approved by Allen &Heath could void the compliance of the console and therefore the usersauthority to operate it.4 ML4000 User Guide

Important Safety InstructionsWARNINGS - Read the following before proceeding :CAUTIONATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIRRead instructions:Do not remove covers:Power sources:Power cord routing:Grounding:Retain these safety and operating instructions for future reference. Adhere toall warnings printed here and on the console power unit. Follow the operatinginstructions printed in this user guide and the power unit user guide.Operate the power unit with its covers correctly fitted. Refer any service workto competent technical personnel only.Connect the power unit to a mains power only of the type described in thisUser Guide and marked on the rear panel. Use the power cord with sealedmains plug appropriate for your local mains supply as provided with theconsole. If the provided plug does not fit into your outlet consult your serviceagent for assistance.Route the power cord so that it is not likely to be walked on, stretched orpinched by items placed upon or against it.Do not defeat the grounding and polarisation means of the power cord plug.Do not remove or tamper with the ground connection in the power cord.WARNING: This equipment must be earthed.Water and moisture:Ventilation:Heat and vibration:Servicing:Installation:To reduce the risk of fire or electric shock do not expose the power unit orconsole to rain or moisture or use it in damp or wet conditions. Do not placecontainers of liquids on it which might spill into any openings.Do not obstruct the ventilation slots or position the console or power unitwhere the air flow required for ventilation is impeded. If the console is to beoperated in a flightcase ensure that it is constructed to allow adequateventilation.Do not locate the power unit in a place subject to excessive heat or directsunlight as this could be a fire hazard. Locate the console and its power unitaway from any equipment which produces heat or causes excessivevibration.Switch off the equipment and unplug the power cord immediately if it isexposed to moisture, spilled liquid, objects fallen into the openings, the powercord or plug become damaged, during lightening storms, or if smoke, odouror noise is noticed. Refer servicing to qualified technical personnel only.Install the console in accordance with the instructions printed in this UserGuide. Do not connect the output of power amplifiers directly to the console.Use audio connectors and plugs only for their intended purpose.ML4000 User Guide 5

Important Mains Plug Wiring Instructions.The power unit is supplied with a moulded mains plug fitted to the AC mainspower lead. Follow the instructions below if the mains plug has to bereplaced.The mains lead wires are coloured in accordance with the following code:TERMINALWIRE COLOUREuropeanUSA/CanadaL LIVE BROWN BLACKN NEUTRAL BLUE WHITEE EARTH GND GREEN & YELLOW GREENThe wire which is coloured Green and Yellow must be connected to theterminal in the plug which is marked with the letter E or with the Earth symbol.This appliance must be earthed.The wire which is coloured Blue must be connected to the terminal in the plugwhich is marked with the letter N.The wire which is coloured Brown must be connected to the terminal in theplug which is marked with the letter L.Ensure that these colour codes are followed carefully in the event of the plugbeing changed.General PrecautionsDamage :Environment :Radiation :Cleaning :Transporting :To prevent damage to the controls and cosmetics avoid placing heavyobjects on the control surface, scratching the surface with sharp objects, orsubjecting the console to rough handling and vibration.Protect from excessive dirt, dust, heat and vibration when operating andstoring. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain andmoisture. If the console becomes wet, switch off and remove mains powerimmediately. Allow to dry out thoroughly before using again.To avoid induced noise and interference pickup do not operate the consoleclose to strong sources of electromagnetic radiation such as power supplies,video monitors, lighting cables and dimmers.Avoid the use of chemicals, abrasives or solvents. The control panel is bestcleaned with a soft brush and dry lint-free cloth. Stubborn marks can beremoved using a cloth dampened with isopropyl alcohol. Do not leavemarking tape stuck to the console for long periods of time as the adhesivecan degrade and leave a sticky residue. The faders, switches andpotentiometers are lubricated for life. The use of electrical lubricants on theseparts is not recommended. Refer to the power unit user guide for instructionson cleaning its ventilation filters.The console should be transported in the original packing or purpose builtfoam lined flightcase. Protect the control surface from damage during transit.The console is a large and heavy item. To avoid injury ensure adequate manpower and precaution when lifting or moving the console.6 ML4000 User Guide

ML4000 Key FeaturesThe Allen & Heath ML4000 is a large format VCA equipped dual function live sound consoleproviding many of the features of its larger brother the ML5000. It can be quickly configured forfront-of-house (FOH) or stage monitor mixing. As one console suitable for both applications it isequally well suited to installation, rental and touring. It offers an IO capability and feature set thatsatisfies the latest trends in live sound engineering, in particular the growing number of inputs andoutputs for multi-speaker house and monitor systems, demands of stereo in-ear monitoring, 3speaker LCR imaging, advanced grouping and automation. The design ensures on-the-roaddurability, a clear layout for easy walk up and go operation, and no-compromise audioperformance.Inputs and Outputs• 4 Standard frame sizes: 24+2, 32+2, 40+2, 48+2 (mono + dual stereo channels)• Optional ‘B’ versions: 20+6, 28+6, 36+6, 44+6 (mono + dual stereo channels)• 24, 32, 40, 48 mono mic/line inputs with inserts and direct outputs• 2 dual stereo line inputs standard (6 optional)• 24 input sidecar to expand to a maximum 96 inputs• Main Left, Right and Centre outputs with inserts, Centre configurable as the engineers monitor• 8 Groups, 12 Auxes: Group/Aux 1-8 and Aux 9-12 with faders and inserts, Aux 1-8 with rotaries• 11x4 Matrix• 2-Track monitor input and recording send• Stereo headphones and local monitors• Talkback mic input• ClearCom compatible intercom interfaceGroups and Automation• 8 VCA groups with mutes and PAFL monitoring• 8 audio groups with LCRplus sub grouping• 8 mute groups• MIDI accessible snapshot memories• MIDI mute on/off, snapshot recall and dump in/out control• Channels can be made safe from the automationProcessing and Control• 4-Band full sweep mono EQ with switched Q mids, 4-band fixed frequency stereo EQ• Sweepable high pass filter• LCRplus 3 speaker imaging system• Protected mode switching to configure the console for FOH or monitor application• Intelligent PAFL system with all-clear, PFL/in-place AFL, priority, auto-cancel/add mode…• Assignable talkback and intercom• 1kHz tone and pink noise generator for system line-up and testing• Full console monitoring and extensive metering of inputs, mix busses and outputsML4000 User Guide 7

OOOOOOOOQUICK START SHEETAUX MIXAUX1AUX OUTCopy this sheet to keep with the console for guest user reference.Configure the Mode Switches :AUX+6AFLUse a pen or pointed object to select the underpanelmode switches.GROUP MIXmodeINSERTTBMUTEEDIT/SAFEFOHMONITORGROUP OUTFRONT-OF-HOUSEAUX 1-8 = AUX 1-4 and 5-8 switchable pre or postfade.Rotary masters.AUX 9-12 = Switchable pre or post-fade and monoor stereo in pairs. Fader masters with inserts.AFLPK+60-6SIG505102030OOGROUP678down+6+6+6MATRIXWEDGEmodeLCR+BLENDPANLRLC==MAINMIXCSUBGROUPRMONITORGROUP 1-8 = Audio groups with paired routingswitches. Fader masters with subgrouping andmatrix sends.MONITORAUX 1-8 = Monitor mix 1-4 and 5-8 switchable preor post-fade. Fader masters with inserts. Group mixon rotary masters.AUX 9-12 = Monitor mix 9-12 switchable pre orpost-fade and mono or stereo in pairs. Fadermasters with inserts.MAIN C OUT = Engineers wedge monitor.DUAL MODESet the mode switches to configure fader masters 1-8 in any combination of audio groups and auxsends.BLENDLRPANLCRMONO PAL R CBLENDLRPANLSTEREO+FILLL R CCRUsing LCRplusPAN and BLEND = Twocontrols adjust the balancebetween L, R and C.MAIN MIX = Routes thechannel to the main L,R,Coutputs.STEREO PALCRLCR+BLEND=MAINMIXBLENDL R CBLENDL R CPANLR=CLRCLRCPANLRPANLRLR8 ML4000 User Guide

161612129 966330033669912121515181821 21242427273030161612129 966330033669912121515181821 21242427273030161612129 966330033669912121515181821 21242427273030161612129 966330033669912121515181821 212424272730301612963036912151821242730129630369121518212427301296303691215182124273012963036912151821242730How to Assign a VCA or MUTE GROUP :CHANNELPANPRE-FADE SENDSPOST-FADE SENDSSUBGROUPPANLRCMAIN MIXMATRIX SEND1. Press EDIT GROUP. The key flashes.2. Press MUTE on the master you want to edit. It flashes.3. Press the channel MUTE keys to assign or remove themfrom the group.ASSIGNCHANNELFADERAUDIO BUSSINSERTMASTERFADERAUDIO GROUP4. Check which channels are assigned on the channelSAFE/EDIT LEDs.5. Press the next master to edit. Press EDIT GROUP whenfinished to return to exit edit mode.CHANNELPRE-FADE SENDSPOST-FADE SENDSMUTEMUTEEDITGROUPPANLRCMAIN MIXSAFE/EDITPAFLSAFEPAFLSELECT GROUP TO EDITASSIGN USING CH MUTESPK+6MUTEASSIGN+DCVCAVCA GROUP0-6SIG105105CHANNELFADERMASTERFADERDC VOLTAGEProblems ?www.allen-heath.comThe channel is routed but there is noaudio. If it is assigned to a VCA groupcheck that the group fader is up.PFL / AFLAUTOCANCELADD MODEPFLAFLIN-PLACEINPUT PAFLCLEARALLUsing P/AFL :Input PAFL = Select mono PFL orstereo in-place AFL.Output AFL = Press one formono, two together for stereo.Input PAFL overrides output AFL.Output AFL cancels input PAFL.The audio groups do not work. Checkthe setting of the fader master 1-8GRP/AUX mode switches.520 10 7 3 1 0 3 5 +520 10 7 3 1 0 3 55 20 10 7 3 1 0 3 5- +-+-16PAFLAFLCALLoffoffPFLThe PAN control does not work. Formain mix check the setting of the BLENDcontrol. For groups check the GRP PANON switch.The console takes a long time topower up. Check the rear panel slideswitch setting. RS232 takes longer toboot in than MIDI.The channel does not respond to MIDI.Check that it has not been made safe(green SAFE/EDIT LED on in normalconsole mode).PAFL5520 10 7 3 1 0 3 520 10 7 3 1 0 3 5 20 10 7 3 1 5 0 3 5- +- +-+ AFLCALLAFL-L AFL-R AFL-M16520 10 7 3 1 0 3 5 +PAFL5520 10 7 3 20 10 7 3 1 0 3 1 5 0 3 5-+-+ AFLCALLoffoffAFL-16PAFL5520 10 7 3 1 0 3 55 20 10 7 3 20 10 7 3 1 0 3 1 5 0 3 5- +- +-+ AFLCALLAFL-LAFL-RAFL-MML4000 User Guide 9

SYSTEM BLOCK DIAGRAMMONO CHANNELFADERVCA GROUPSPAFL LOGICPAFL+48VINPUTPADGAIN+ -FILTERFREQHPF ININSERTSEND RETURN+ -4 BAND EQUALISERLF LM HMHFMETERPEAKEQ INVCAPRE-FADE AUXOPTION LINKSMUTEL+MUTE GROUPSCSNAPSHOTSR+PAN BLEND MIXLCR+L R LR CPFLL AFLR AFLL MIXR MIXC MIXPOST-MUTEJ7POST-EQ J3PRE-EQ J2PRE-INSERT J1J8GROUPASSIGN1-2GRP 1GRP 23-4GRP 3GRP 4PREPRE5-6GRP 5GRP 6DIRECT OUTOPTION LINKSPREPRE7-8GRP 7GRP 8DIRECT OUTJ5 POST-FADEJ4 PRE-FADEAUX1 AUX2 AUX3 AUX4AUX5 AUX6 AUX7 AUX8AUX9AUX10AUX11AUX12J6POST-TRIM(AUX1 ONLY)STEREOSTEREOJ9J10LEV 9-10PANLEV 11-12PANAUX 1STEREO CHANNELFADERVCA GROUPSPAFL LOGICPAFLLINPUT ARLINPUT BR+ -GAIN+ -+ -GAIN+ -ONONPRE-FADEPOST-FADELRMLRM+SOURCEMONO LMONO RLF4 BAND EQUALISERLM HM HFEQ INMETERPEAK+VCAPRE-FADE AUXOPTION LINKSPOST-MUTEJ3POST-EQPRE-EQ R=J2L=J1MUTEMUTE GROUPSSNAPSHOTS+BAL BLENDLCR+L R LR C+L+CR+MAINMIXPFLL AFLR AFLL MIXR MIXC MIXPREPREPREAUX11AUX12STEREO11-12 LEVPANAUX11AUX12AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8AUX9AUX10AUX11AUX12GROUPASSIGN1-23-45-6GRP 1GRP 2GRP 3GRP 4GRP 5GRP 6PRE7-8GRP 7GRP 8AUX9AUX10AUX5 AUX6 AUX7 AUX8AUX5 AUX6 AUX7 AUX8STEREO9-10 LEVPANAUX 5AUX 6AUX 7AUX 8AUX 5AUX 6AUX 7AUX 8AUX9AUX10OSC/NOISE/TALKBACKOSC/NOISE TO TBINTERCOMTRIMPINK NOISETRIM+48VTRIMDIM+TBTALK TO INTERCOMSIDETONE-+LISTENTO PHONESTALK TO TBLAMP1kHz OSCTB MIC+ -INTERCOM IN/OUTCALLDisableMONITOR DIMMONITOR DIM10 ML4000 User Guide

TBGRPMIXTB ENABLEMODE(1-8 ONLY)GRP 1-8AUX 9-12INSERTSEND RETURNMUTE GROUPSSNAPSHOTSMETERPEAKFADER+ -MUTEAFL AFL LOGICL AFLR AFLTO VU METERBLENDPANLCR+MAINMIXL MIXR MIXC MIXMATRIXGRP 1GRP 2L R LR C(1-8 ONLY)GRP 3Press MODE to reverse GRP and AUX master control sectionsAUX 1-8AFLAFL LOGICL AFLBALGRP TO MTXGRP OUTGRP 4GRP 5GRP 6AUXMIXMASTERR AFLBALAUX OUTGRP 7GRP 8LRTBL MIXL MIXLEFTINSERTSEND RETURNPEAK+ -FADERLBALLEFTOUTTBCTB ENABLELEVELR MIXTBR MIXRIGHTINSERTSEND RETURNPEAK+ -FADERMUTEMUTE GROUPSSNAPSHOTSPOST-FADEPRE-INSERTPRE-INSERTPOST-FADERBALL2TRKOUTRRIGHTOUTAFL LOGICAFLL AFLR AFLWEDGE modeTBCCENTREPEAKFADERMUTEMUTEBALOUTC MIXC MIXINSERTSEND RETURN+ -MUTE GROUPSSNAPSHOTSC METERBALCENTREOUTMATRIXWEDGE MONPFL MIXMONITORL METERSGRPMETERS 1-8PFLL AFLL AFL MIXLR METERSR AFLR AFL MIXRC METERSAUXMATRIXMETERS 9-12+CMETER SELECTMONITOR SOURCELR CLRC++2TRKPFLTRIMTB DIMWEDGE MONMONOFROM INTERCOMPHONES++LRHEADPHONESL2TRKINR+ -+ -+LOCALLLOCALMONITORRPAFL LOGICAFLPFLINPUT PAFLOUTPUT AFLML4000 User Guide 11

Technical Specifications0dBu = 0.775 Vrms, +4dBu = 1.23 VrmsOperating LevelsChannels......................................... 0dBu Headroom +21dBMix .................................................. -2dBu Headroom +23dBMax XLR output .............................. +23dBuFrequency Response Referred to 1kHz at +4dBuMic to main output (+40dB)............. 20Hz to 30kHz +0/-0.5dBLine to main output (0dB)................ 20Hz to 30kHz +0/-0.5dBDistortion @1kHz +14dBuTHD+noise ...................................... < 0.02%CMRR Common mode rejection @1kHzMic (+40dB)..................................... > 80dBMic + Pad (0dB) .............................. > 50dBCrosstalk Referred to driven channel @1kHzChannel to channel ......................... < -95dBMute shutoff .................................... < -90dBFader shutoff................................... < -90dBNoise Performance Measured rms 22Hz to 22kHz unweightedMic EIN with 150 ohm source ......... -128dBResidual output noise ..................... < -98dBuMix noise, nothing routed................ < -94dBuMix noise, 24 channels routed ........ < -84dBuMeteringReading 0................. 0dBu at XLR outputsLED meters .............. Peak reading, 3 coloursVU meters ................ Ave reading, Illuminated moving coilPeak indicators ........ 5dB before clip, multi-point sensingInput meters ............. 5 bar LED (signal, -6, 0, +6, peak)Group mix meters .... 5 bar LED (signal, -6, 0, +6, peak)Group/Mtx meters .... VUL,R,C meters............ VU and 16 bar LEDLamp Connectors x3Connector ....................................... XLR-F 4pinRating.............................................. 12V 400mA maxChannel FiltersSlope ............................................... 12dB/oct high passFrequency ....................................... 20Hz to 400HzMono EqualiserHF................. +/-15dB, 2kHz to 20kHz shelfHM................ +/-15dB, 500Hz to 15kHz bell, Q = 1 or 2LM ................ +/-15dB, 35Hz to 1kHz bell, Q = 1 or 2LF ................. +/-15dB, 20Hz to 200Hz shelfStereo EqualiserHF................. +/-15dB, 12kHz shelfHM................ +/-15dB, 2.5kHz bellLM ................ +/-15dB, 250Hz bellLF ................. +/-15dB, 60Hz shelfPower Supply Model MPS14Type ........................... External 2U rack or floor mountMains input................. 100-230V 50/60Hz universal inputPower consumption.... 500WFull protection and fan coolingBuilt-in combiner for redundant supplyDimensions Width.............. Depth ...... .....Height24 Channel 1196 (47”) ...... 781 (30.7”) ....282 (11.1”)32 Channel 1451 (57”) ...... 781.......... .....28240 Channel 1706 (67”) ...... 781.......... .....28248 Channel 1961 (77”) ...... 781.......... .....282Sidecar 831 (33”) ........ 781.......... .....282MPS14 psu 483 (19”) ........ 260 (10.2”) ....Weights24 Channel..... 53 kg (116 lbs)32 Channel..... 65 kg (143 lbs)40 Channel..... 75 kg (165 lbs)48 Channel..... 87 kg (191 lbs)24 Sidecar...... 40 kg (88 lbs)MPS14 psu .... 2.5 kg (5 lbs)INPUTS:Mic (Pad out)................ XLR.................balanced, pin2+........ 2k ohm ..............variable -60 to -10dBu ........ Max +11dBuMic (Pad in).................. ........................ ................................. >20k ohm..........variable -40 to +10dBu ....... Max +31dBuStereo A ...................... TRS jack.........balanced, tip+........... >20k ohm..........variable -18 to +6dBu ......... Max +27dBuStereo B ...................... XLR.................balanced, pin2+........ >20k ohm..........variable –18 to +6dBu ........ Max +27dBu2-Track......................... TRS jack.........balanced, tip+ .......... >20k ohm..........+4dBu................................. Max +25dBuINSERTS:Input send .................... TRS jack.........ground comp, tip+ .... 20k ohm..........0dBu ................................... Max +21dBuOutput send ................. TRS jack.........ground comp, tip+ .... 20k ohm..........-2dBu.................................. Max +21dBuOUTPUTS:L,R,C............................ XLR.................balanced, pin2+........

The Range• ML4000-24 24 mono, 2 dual stereo inputs• ML4000-32 32 mono, 2 dual stereo inputs• ML4000-40 40 mono, 2 dual stereo inputs• ML4000-48 48 mono, 2 dual stereo inputs• ML4000-24B 20 mono, 6 dual stereo inputs• ML4000-32B 28 mono, 6 dual stereo inputs• ML4000-40B 36 mono, 6 dual stereo inputs• ML4000-48B 44 mono, 6 dual stereo inputs• MPS14 2U power supply unit• 002-583 2.8 metre DC power lead• 002-584 0.5 metre DC combiner lead• AP4314 ML4000 Console User Guide• AP4373 ML4000 Sidecar User Guide• AP3898 MPS14 User Guide• AP4316 ML4000 Service Manual• AL4061 Gooseneck lamp 18”• ML4000-24SC 24 mono input sidecarInstallation DetailsWeights 24 Channel 53 kg (116 lbs)32 Channel 65 kg (143 lbs)40 Channel 75 kg (165 lbs)48 Channel 87 kg (191 lbs)24 Channel sidecar 40 kg (88 lbs)MPS14 psu 2.5 kg (5 lbs)HEADPHONES SOCKETUNDER ARMRESTLAMP SOCKETS282130781ML4000-24SC = 831ML4000-24 = 1196ML4000-32 = 1451ML4000-40 = 1706ML4000-48 = 1961FC 76.2440482.690Refer to the power supply user guidefor safety and installation instructions.Heed all warnings printed in the userguide and on the power unit.263 REMOVABLE RACK EARS2U HEIGHTRefer to the sidecar user guide forinstructions on connecting the sidecarexpander to the console.ML4000 User Guide 13

Connecting the Power SupplyDO NOT OBSTRUCT VENTILATION OPENINGS.CAUTIONDO NOT OPEN. NO USER SERVICEABLE PARTS INSIDE.THIS APPARATUS MUST BE EARTHED BY THE POWER CORD.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSEWITH SAME TYPE AND RATING. DISCONNECT SUPPLY BEFORE CHANGING FUSE.ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.COUPER L'ALIMENTATION AVANT DE CHANGER LE FUSIBLE.MAINS INPUTFUSETT5A 250V100V - 230V.AC 47-63 Hz ~ 500W MAXS/NoMADE IN ENGLANDThe ML4000 console range is supplied with theMPS14 power supply unit. A second MPS14 maybe connected through the first as a redundant(backup) supply.Before connecting please read the IMPORTANTSAFETY INSTRUCTIONS printed at the front of thisuser guide and the warnings printed on the rear ofthe power supply. Also read the user guideprovided with the power supply. Heed allinstructions regarding the installation and ventilationrequirements of the unit.ML5000Connecting Mains PowerDIRECTOUTINSERTSENDRETINDIRECTOUTINSERTSENDRETINDIRECTOUTINSERTSENDRETINCheck that the correct mains lead with mouldedplug suitable for your territory has been suppliedwith your console. The MPS14 accepts mainsvoltages within the range 100-240V AC without theneed to change any fuses or settings.DC POWER INMake sure that the IEC mains plug is pressed fullyinto the MAINS INPUT socket.RS232CHASSISGROUNDConnecting the DC CablePlug the cable into the power supply DC POWEROUT 1 socket. First align the locating lugs, pressthe plug into the socket, and screw on the lockingring to hold it firmly in place. Plug and secure theother end into the console DC POWER IN socket.MPS14If you are using a second ‘redundant’ supply as abackup then connect the short cable to both powersupplies. Connect from the DC POWER OUT 1socket on the backup supply to DC POWER OUT 2on the main supply.Turning the Console On or OffFirst check that the mains and DC leads arecorrectly plugged in and secured. Turn on thepower supply using its front panel mains switch.The console must be connected to the powersupply before turning it on. Failure to do so willresult in the unit powering up in protect mode. Turnoff, connect the console, and turn on again.MPS14To avoid loud pops in the speakers make sure thatthe connected power amplifiers are turned offbefore switching the console on or off.WARNING:To avoid damage to thespeakers always switch the power amplifiers onlast and off first.14 ML4000 User Guide

EarthingThe connection to earth (ground) in an audio system is important for two reasons:1. SAFETY - To protect the operator from high voltage shock, and2. AUDIO PERFORMANCE - To minimise the effect of earth (ground) loopswhich result in audible hum and buzz, and to shield the audio signals from interference.For safety it is important that all equipment earths are connected to mains earth so thatexposed metal parts are prevented from carrying high voltage which can injure or evenkill the operator. It is recommended that the engineer check the continuity of the safetyearth from all points in the system including microphone bodies, guitar strings,connector cases, equipment panels and so on.The same earth is also used to shield audio cables from external interference such asthe hum fields associated with power transformers, lighting dimmer buzz, and computerradiation. Problems arise when the signal sees more than one path to mains earth. Anearth loop results causing current to flow between the different earth paths. Thiscondition is usually detected as a mains frequency audible hum or buzz.To ensure safe and trouble-free operation we recommend the following:Use a clean mains outlet for the audio system. Keep the audioequipment mains feed separate from that powering ‘dirty’ equipment such as airconditioning and lighting systems, motors and vending machines.Use star point earthing. It is best to install a ‘star point’ system where theindividual earths to the equipment racks and equipment areas are separately run from asolid central reference earth point.Have your mains system checked by a qualified electrician. If thesupply earthing is solid to start with you are less likely to experience problems.Do not remove the earth connection from the console mains plug.The console chassis is connected to mains earth through the power cable to ensureyour safety. Audio 0V is connected to the console chassis internally. If problems areencountered with earth loops operate the audio ‘ground lift’ switch on the power supplyor connected equipment, or disconnect the cable screens at one end, usually at thedestination.Avoid induced interference. To prevent interference pickup keep audio cablesaway from mains power units, cables and distribution boards, motors, lighting andcomputer cables and equipment, and any other heavy duty electrical equipment. Wherethis cannot be avoided cross the audio and ‘dirty’ equipment cables at right angles tominimise interference.Use low impedance sources such as microphones and line level equipmentrated at 200 ohms or less to reduce susceptibility to interference. The console outputsare designed to operate at very low impedance to minimise interference problems.Use balanced connections where possible as these provide furtherimmunity by cancelling out interference that may be picked up on long cable runs. Toconnect an unbalanced source to a balanced console input, link the cold input (XLR pin3 or jack ring) to 0V earth (XLR pin 1 or jack sleeve) at the console. To connect abalanced console output to an unbalanced destination, link the cold output to 0V earth atthe console.Use good quality cables and connectors and check for correct wiring andreliable solder joints. Allow sufficient cable loop to prevent damage through stretching.If you are not sure ... Contact your service or local Allen & Heath agent for advice.ML4000 User Guide 15

Rear Panel ConnectionsDIRECTOUTDIRECTDIRECTDIRECTOUT OUT OUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDRETRETRETRETRETRETRETRETRET RETRET RETRETRETRETRETININININININININININININININININDC POWER ININPUT AEXPANDER AUDIOINPUT BEXPANDER LOGICSIDECAR 2 SIDECAR 1OUT THRU INMIDIRS232Select MIDI for normal operation !SELECTCHASSISGROUNDSerial No.IN. XLR input for mic or line level signals. Pin 2hot. Phantom power is fed to pins 2 and 3 through6k8 series resistors when the front panel +48Vswitch is pressed.WARNING: Do not connectunbalanced sources or cables to the XLR inputswhen phantom power is selected. To avoid loudclicks always turn the channel off by pressingthe MUTE switch when switching +48V on or offand when plugging or unplugging microphones.INSERT. Separate TRS jack sockets for send andreturn. The insert is post-HPF and pre-EQ. It canoperate with both balanced or unbalanced line levelequipment. The channel signal path is interruptedwhen you plug into the RETURN socket. You cantap off the pre-EQ signal without interrupting thesignal path by plugging into the SEND socket.Note that the audio outputs of the first sidecar plugsinto the second. The output of the second presentsthe combined mix to the main console.The expander inputs conform to the Allen & HeathSYS-LINK II standard. You can connect to aconsole fitted with SYS-LINK I using special adaptercables. Contact Allen & Heath for details.EXPANDER LOGIC. 9-pin D-connectors to linkthe expander sidecar and main console logicsystem. Up to two sidecars may be connected.MIDI. Three standard opto-isolated 5-pin socketsfor MIDI IN, OUT and THRU. The small slide switchselects either the MIDI or RS232 connection. Fornormal console operation it is recommended thatthe switch is set to MIDI. The power up boot routineis quicker in this position than RS232.DIRECT OUT. TRS jack providing the post-fadechannel signal as standard. You can reconfigurethe output as pre-fader or as post-fader with theAUX 1 send control as a level trim by repositioninginternal jumper links. The output is groundcompensated.EXPANDER AUDIO. Two 37-pin D-connectors toconnect the outputs of the expander sidecar into themain console. These provide inputs to all the mixbusses and P/AFL system. They are balanced andoperate at –2dBu. Up to two sidecars may beconnected.RS232. 9-pin D-connector to connect to the serialport of a PC for loading new console operatingsoftware or archiving the settings. To enableRS232 set the slide switch to the RS232 position.Set it back to the MIDI position when finished.DC POWER IN. A heavy duty 7-pin connector withlocking ring for connecting to the console powersupply unit. A chassis ground terminal post isprovided for situations that require earth strappingbetween equipment.WARNING:Use only the DC powercable provided with the console.16 ML4000 User Guide

R L R L R LDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTDIRECTOUTINSERTSENDINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDINSERTSENDRETURNRRRRRRRRRRRRRRET RET RETRET RET RETRETRETINININININININININTERCOMMade in England byALLEN & HEATHA Division of Harman International Industries LimitedSTEREO IN. Each provides two balanced stereoinputs which can be selected independently ormixed into the channel, INPUT A on TRS jacks,INPUT B on XLR. These accept line level signals.LOCAL MONITOR OUT. Ground compensatedstereo monitor output on TRS jacks. These canconnect to a stereo amplifier/speaker system forlocal monitoring.2-TRACK IN / OUT. Line level TRS jacks toconnect to a 2-track recorder such as MiniDisc, tapeor DAT. Connect OUT to the recorder input, and INto the recorder output. The connections arebalanced. Link ring (cold) to sleeve (ground) whenconnecting to unbalanced equipment.MAIN OUTPUTS. Line level balanced XLR outputsfor the L, R and C main mix. Pin 2 hot. Theseoutputs can provide up to +23dBu maximum andare suited to driving line level equipment operatingat nominal 0dBu or +4dBu. The C output isavailable as the engineers wedge monitor feedwhen the front panel mode switch is selected.INSERTS. Each of the 8 mix and 3 main outputshas a pre master fader insert point. These provideseparate TRS jack sockets for send and return.The mix signal path is interrupted when you pluginto the RETURN socket. You can tap off the prefadesignal without interrupting the signal path byplugging into the SEND socket.INTERCOM. Female XLR socket for connectingthe console to a ClearCom compatible intercomsystem. An intercom headset is not required as theconsole headphones and talkback microphone areused. A standard 2-core shielded mic cable issuitable.LAMP. 4-pin XLR for plugging in a goosenecklamp to illuminate the control surface. Three lampsockets are provided along the back of themeterpod. The right angled Littlite type isrecommended. The 4-pin XLR prevents anyconfusion with the 3-pin audio connections.GRP / AUX / MATRIX OUTPUTS. Line levelbalanced XLR outputs for Grp 1-8, Aux 1-12 andMatrix 1-4. Pin 2 hot. These outputs can provideup to +23dBu maximum and are suited to drivingline level equipment operating at nominal 0dBu or+4dBu.Note: The GRP and AUX output XLRs alwaysremain on their respective connectors regardless ofthe setting of the front panel REVERSE switches.ML4000 User Guide 17

Audio Connector Types and Wiring18 ML4000 User Guide

Gain StructureHow the levels between the different signal stagesare set up is referred to as the gain structure. Forbest performance it is important that the connectedsource signals are matched to the ‘normal operatinglevel’ of the console. Similarly the levels of theconnected amplifiers and destination equipmentshould be correctly matched to the console outputs.If set too high then the signal peaks will be clippedresulting in distortion, and if set too low then thesignal-to-noise performance will be degradedresulting in excessive background hiss and noise.Using the Meters. The ML4000 provides meteringat all important stages through the signal chain. Forbest results operate the console with the LED barmeters averaging around ‘0’ allowing the loudestmoments to reach ‘+6’. Reduce the gain if the redpeak LEDs start to flash. Note that the peak ledslight 5dB before actual clipping to warn that you arenearing distortion and should reduce gain. TheLED bar meters have a peak response with fastattack and slow release so that fast musicaltransients are accurately displayed. The VU metershave a slower attack so that the average levels arebetter displayed. Both types of metering are usefulin live sound mixing.Matching a Source to the Console. Start byturning down the channel fader and send levels toprevent unexpected loud volumes reaching themain speakers and monitors. Adjust the GAINcontrol for an average ‘0’ reading on the channelmeter. Press PAFL (in PFL mode) to listen to thesignal using headphones, local or wedge monitor,and to view its level on the main LED and VUmeters. Once the gain is correctly set you can raisethe levels to bring the channel into the mix. Notethat you may need to adjust the gain if you makesignificant changes to the EQ. Make sure that anyequipment inserted into the channel is set tooperate around 0dBu line level. It is best to first setthe gain with inserted signal processors such ascompressors switched to bypass.Matching the Console to Destination Equipment.The console produces a standard XLR output levelof 0dBu for a meter reading of ‘0’. It can produce amaximum of +23dBu and is therefore well suited todriving equipment operating at nominal 0dBu or+4dBu while providing plenty of headroom. If youare connecting directly to a sensitive poweramplifier it is advisable to turn down its input trimcontrol if the normal console level is too high.Simply turning down the console output fadersdegrades the output stage noise performance andreduces the resolution of the fader movement. Theoutput faders are best operated around ‘-10’ to ‘0’for loudest average volume required. This allowsplenty of additional headroom if you need it.Terminology. The normal operating level is theoptimum signal level for best console performance,indicated by ‘0’ meter readings and resulting in the0dBu output level. The channels operate at 0dBuand the mix stages at –2dBu for extendedheadroom. Headroom is the extra level availableabove normal to allow for loud peaks before thesignal becomes clipped resulting in audibledistortion. The signal-to-noise ratio (SNR) is thedifference measured in dB between normal leveland residual noise floor (hiss) produced by theconsole electronics. The dynamic range is thesum of headroom and SNR representing themaximum signal range possible from quietest toloudest.Using the VCA Groups. Assigning a channel toone or more VCA groups lets those group faderscontrol the level of its VCA element. Each faderprovides up to +10dB boost. Note that the channelVCA allows a maximum combined fader boost of+10dB. Any more is simply ignored. It is best tooperate the VCA group faders around their nominal‘0’ position. You can also use a VCA group toreduce the overall level of a hot mix without havingto adjust all the channel faders.Final word… A little care with setting gainstructure throughout the signal chain will give youthe very best performance and most manageablecontrol of the mix.ML4000 User Guide 19

20 ML4000 User GuideControl LayoutSTEREOGRP/AUX 2PADOO OO OO8VCAGROUP30405671020123405-6SIG10530401020304010200510505510PAFL0+6PKSAFE/EDITMUTEPANRL=LRCMETUPAFLSAFEPAFLSAFEMETU1VCA 130OOVCA 2230OO+6+62NBLEND12OO=+NAPLCR+6MAINMIXOOOOVELAUXAUX11 11-12+6STEREOPRE+69-109OOAPVELAUX10+6PRE8OOAUXAUXPRESTEREO+6-6-652010SIG0552010SIG05AFLSTEREOEDIT/SAFEPK0+6PK+60EDIT/SAFEAFLGROUPSOOOO7AUX+6+6OO56AUXAUX+64OOOOAUX+6+6OO3AUX+6TBLMUTEPANLR=RLRMUTETBLRCPANC=AFLMIXMAINLCRBLEND+ =OOLCR+BLEND=MIXMAINOOAFL6LF1OOAUXAUXPRE+6-15 +15EQ INLM90-155020Hz+15130200Hz-158035Hz45180 +15300Q1k450reverseGRP/AUX 1MONITORAUX1FOHAUX2reversemode+6+6+6OOOO8OO7AFLOMUTEO +65k1k500Hz700 7k15kQHM2kHz-153k20kHz HF+15GAIN7k3k20Hz3010kIN300400602010- 101005020dB4040C3+6+6+65OOOOOO4LEVTBOO +6+6+6OO2OO1OOOOR+6+6L+48VSAFE/EDITWEDGEOOOOO OO OO OO O OO OO OO10051020304030403040102010203040102005051051050510530401020304010200510505510VCA 5SAFEPAFLSAFEMETUPAFLMETUSAFEVCA 4VCA 3330OO30OO4 530OOPAFLPAFLMETUMETUSAFEPAFLSAFEMETUVCA 6630OO7VCA 7OO305304030401020102030401020050510510505510ASSIGN USING CH MUTESSELECT USING GROUP MUTEEDIT MUTE & VCA GRPSPAFLPAFLMTEUSAFESAFEMUTEMUTE GROUPS8VCA 830OO30OO9 1030OOSAFE/EDITPKPKSAFE/EDITMETUPKMETURMAINL1130OO12CO30OOOOOSIG8GROUPVCA56783040VCAGROUP10205671234-6SIG105234510 -63040102005105ST2SAFE/EDITSAFE/EDITMONITORCmode+60PKMETUPAFL+60PKMUTEST1LLRBALLR= C BALLRPAFLMUTER= COSC/NOISE1kHz OSCPINK NOISEINTERCOMTALK TO100+6+6+6+6+6+6LCRPANBLENDEDIT/SAFE-6-6-6SIG5201052010SIG50 0552010SIG05EDIT/SAFEPK+6STEREOPK0+6EDIT/SAFEAFL0PK0+6AFL-6-65201005SIG52010SIG50AFLSTEREOPK0+6AFLEDIT/SAFESTEREOPK0+6EDIT/SAFEAFL==LRMUTELRTBMUTE=LRPANPANCLRLTBMUTE= C LRPANO+BLENDMIXMAIN=+BLENDLCRLCROOAFLMIXMAIN= +BLENDLCRAFLOOORLRTBTBMUTEPANCCLR=LRMUTETBLRPANC=AFLMAINLCRBLENDMIXMAINMIX+ =AFLOOLCR+BLEND=MIXMAINOOAFLAFLEDIT/SAFE-6-6-6SIG520105201005SIG0552010SIG05PK+6EDIT/SAFEPK+60 0AFLEDIT/SAFESTEREOPK0+6AFL-6-652010SIG0552010SIG05STEREOPK0+6EDIT/SAFEAFLPK0+6EDIT/SAFEAFLTBMUTERLTBMUTEC=LRTBMUTEMIXMAIN=+AFLOOPHONESunder armrest0AFLMUTETBALLIN-PLACECLEARMUTETBTO TBTALKPAFLADDAUTOPFLCANCEL10CALLminLISTENmaxLEVAUX666GRP/AUX 5AUXGRP/AUX 3reverse3AUX4GRP/AUX 4reverseAUX5OMUTEOO +6OO8+6OO7+6OOAFLOO8+6OOO7reverseGRP/AUX 6AUX6reverseGRP/AUX 7AUX7reverse+6AFLSTEREO+6+6+6 OOMUTEOO +6OO8+6OO7+63C3OOOOO5LEV+6+6OO4+6TBOOOO5+6OOO4OOOOOO2 R+6+61 L+6+6OOOOOO213C+6LEV+6+6TB+6 OOOOOO5+6+6OO4+6+6+6R+6+6OOOOLOOOO2+6+61MIDI CHHold and press CH1>16 MUTEGRP/AUX 8reverse8MONITORLOCALMONOCLRLCRAFL+6OOMUTE2TRKminPFLTRIM0dBSOURCEINTERCOMTRIMTB TO CminTB TO LRmaxmax+48VTALKBACKMIC INTRIMDUMPUse CH MUTESEDIT SAFESMETERSCTB+6OOMIDIRS232+6+6OOROOLMTX 1-4DisableTO TBminmaxAUX 9-12OSC/NOISE-17TRIM+48+1722LL12OOLAB+BLENDLCROO11AUXOOVAUXEL12MIXMAIN+6=OOLABLCR+BLEND11-12PRESTEREO+6+6OOOO11VELAUXAUX9OOVELBA10AUX8AUXAUXOO99-10PRE+6 OOVELBA10AUXPRESTEREO+6 OO8AUXAUXMAINMIX=+6STEREO11-12PRE+6+69-10PRE+6PRESTEREO+6OOOOOOOAUXOO7OO5AUX6AUX+6+6OOO7AUX+6 O56AUXAUXOO4AUXOOOOAUX3GROUPS+6+6OO4AUX+6 O3AUX+6+6+6GROUPS+6+6+6HFHFOLF1AUXAUXOO-15PRE+6 O1AUXAUX+15EQ IN-15-15-15-15LM+15+15-15-15HM+15 -15LFPRE+6+15EQ INLM+15+15HM+15-6-6GAIN10GAINL+R-6MONO RMONO LL+RB18ON-6-3-3GAIN183A ON-3310GAIN-310MONO LMONO RB18ONA183ON10324

System DescriptionMONO INPUT and EQ. The input preampmatches microphone or line level signals to theconsole. The sweepable high pass filter removesunwanted low frequency sounds below the selectedfrequency. The channel insert is post filter, pre EQ.A swept frequency 4 band equaliser providesshelving high and low bands with adjustable shelffrequency, and peak/dip high and low mid bandswith adjustable centre frequency and switched Q.The filter and EQ can be independently switched inor out.GRP/AUX SENDS. This section provides controlsfor the group routing and auxiliary sends. Thegroups are routed in pairs and affected by the pancontrol. The auxes are switched pre or post-faderas groups 1-4, 5-8, 9-10, 11-12. Auxes 9-12 can beconfigured as true stereo with level and pancontrols. The pre-fade settings can be changedusing internal jumper links.MAIN MIX SENDS. A single switch routes thechannel signal to the main L, R and C outputs. Thebalance between the three outputs is determined bythe LCRplus pan and blend controls. Thisprovides full 3 output imaging from each channeland group.INPUT FADERS. Includes the channel fader,mute, signal meter and PAFL monitoring. The 8VCA group assignments are displayed. VCA andmute group editing and channel safe selection isperformed using the mute switch with greensafe/edit indicator below. The channels can bemonitored in mono PFL or stereo in-place AFL.STEREO INPUT and EQ. The input preampaccepts two stereo sources with independentcontrol of each. This allows selection of either ormixing together both sources. A fixed frequency 4band equaliser provides shelving high and lowbands and two peak/dip mid bands. The EQ can beswitched in or out.GRP/AUX 1-8 FADER MASTERS. These are thefader masters with inserts for channel sends 1-8,configurable using mode switches as audio group orpre/post aux masters. The groups can be routed tothe main mix through LCRplus controls to createsub groups. LED meters display the pre-fade mixlevels.AUX 9-12 MASTERS. These are the fadermasters with inserts for channel sends 9-12. Theycan be AFL’d in mono or stereo.AUX/GRP 1-8 FADER MASTERS. These are therotary masters for aux sends 1-8. They can bereversed with the group fader masters together withthe inserts for full featured monitor mixing.MAIN MIX FADERS. Provides separate masterfaders, mutes and inserts for the main L, R and Coutputs. A mode switch configures the C output asthe engineers wedge monitor feed for the stagemonitor application.MATRIX. This section provides all the controls forthe 4 matrix outputs, including the source andmaster rotaries.VCA GROUPS. These are the VCA group masterfaders, mutes and PAFL monitor switches. Muteand PAFL remotely activate the assigned channelswitches. Channels are assigned to the groupsusing the edit key. The normal fader operating levelis marked ‘0’.MUTE GROUPS. These are the master keys thatmute all channels assigned to the group. Channelsare assigned using the edit key.MIDI CONTROLS Keys and indicators to action aconsole data dump to external archiver via MIDI orRS232, make selected channels automation safe,and select the console MIDI channel number.HEADPHONES / MONITOR. Provides sourceselection and independent control of theheadphones and local monitor outputs.PAFL CONTROL. This section controls how theintelligent PAFL system functions and provides theclear all key. Add or auto-cancel mode, and inputPFL/AFL are selected here.OSC/NOISE GENERATOR. Enables and selectsa 1kHz tone or pink noise which can be routed toany output for line up or system testing.INTERCOM. The console talkback mic andheadphones can be interfaced to a ClearComcompatible intercom system so eliminating the needfor a separate intercom headset.TALKBACK. Pressing the talk switch routes thetalkback mic to any output with its TB enable switchselected.GRP/AUX 1-8 METERS. These moving coil VUmeters display the grp/aux 1-8 outputs.LRC/PAFL METERS. The main L,R and C outputsare simultaneously displayed on both VU and LEDbar meters. These switch to display any PFL orAFL when selected. The display is mono ormono+stereo depending on source. The large calllamp lights to warn when the intercom is signalled.AUX 9-12 / MTX 1-4 METERS. These metersdisplay either the aux 9-12 outputs or matrix 1-4levels according to the setting of the meter selectswitch.ML4000 User Guide 21

MONO INPUT and EQ+48V20 40PAD20dBGAIN- 10 10 60 401005030-15804520Hz3k2kHz-151k35Hz-157k3k180 +1530090400IN20kHzHF+155k700 7kQ500Hz 15k450Q1k+1530010kHMLM+48V. Switches +48VDC to the channel input XLRfor powering microphones or DI boxes that needphantom power. The power is current limitedthrough 6800 ohm resistors to pins 2 and 3.WARNING Do not connect unbalancedsources or cables to inputs with phantom powerselected. To avoid loud clicks always mute thechannel before switching +48V on or off andwhen plugging or unplugging microphones.GAIN. Adjusts the input sensitivity to match theconnected source to the internal 0dBu operatinglevel of the channel. Provides a variable 50dBrange from +10 to +60dB gain. The gain should beset so that the channel meter averages ‘0’ withloudest moments lighting ‘+6’. Reduce gain if thered peak meter lights.PAD. Attenuates the input signal by 20dB forconnection to high level microphone or line sources.When pad is selected the gain control adjusts from–10dB attenuation to +40dB gain.POLARITY. Reverses the polarity of the inputsignal. This is used to correct reverse wired cablesor sources, and can be effective in reducingphasing problems between microphones or acousticfeedback between the microphone andloudspeakers.5013020Hz 200HzLF-15 +15HPF FREQUENCY. Adjusts the cut off frequencyof the high pass filter between 20Hz and 400Hz toreduce low frequency source noise. The filterattenuates frequencies below cut off by 12dB peroctave.EQ IN+10HIGH PASS FILTERHPF IN. Switches the high pass filter in or out.When switched out the response extends to lowerthan 10Hz.+50dB20Hz400HzUsing the Filter-5-10-15-20-25-30-35-4010100 1kHz10k 30kSwitch in the filter and adjust the cut off frequencyto clean up sources that do not have much basscontent, for example drum kit overheads (set to400Hz), reduce proximity popping on vocals (setaround 150Hz), reduce handling noise and stagerumble, or protect the speakers from very lowfrequency energy (set around 30 to 50Hz). Switchout to preserve full sub energy for low frequencysounds such as kick drum, bass and special effects.22 ML4000 User Guide

+20+15+10HF EQ2kHz20kHzEQUALISER. The channel equaliser providesadjustment of 4 independent frequency bands.Each has cut/boost and frequency sweep controls.HF and LF are shelving. HM and LM are peak/dipwith switched Q control.+50dB-5HF The high frequency band has a shelvingresponse that cuts or boosts the higher (treble)frequencies by up to 15dB. The shelf turning pointfrequency can be adjusted from 2kHz to 20kHz.-10-15-2010+20+15+10+50dB-5-10-15100 1kHz10k 30kHM EQ500Hz15kHzHM The higher mid band has a bell shapedpeak/dip response that cuts or boosts the highermid frequencies by up to 15dB. The centrefrequency can be adjusted from 500Hz to 15kHz.The width of the bell is set using the Q switch toeither wide = 1 (switch up) or narrow = 2 (switchpressed). The higher setting has a more selectiveresponse better suited to enhancing a narrow rangeof frequencies or notching out a problem frequency.LM The lower mid band is similar to the high midbut provides adjustment from 35Hz to 1kHz.LF The low frequency band has a shelvingresponse that cuts or boosts the lower (bass)frequencies by up to 15dB. The shelf turning pointfrequency can be adjusted from 20Hz to 200Hz.-2010100 1kHz10k 30kA8 EQ IN. Switches the equaliser in or out.+20+1535HzLM EQ1kHzUsing the Equaliser+10+50dB-5-10-15-2010+20+15+10+50dB-5-1020Hz100 1kHz10k 30k400HzLF EQThe channel equaliser can be used to creativelyenhance or correctively improve the tonal quality ofthe sound. For example, to brighten up a guitar sothat it stands out in the mix, to cut back theboominess of the kick drum while enhancing thesnap of the beater, or to notch out a ringingfrequency associated with the position of a mic onstage to help increase its gain before feedback.Before using the equaliser make sure you choosethe best microphones for the job and place them tocapture each sound accurately. Start with the EQset flat and apply only as much boost or cut as isneeded. Use low Q settings to affect a wide rangeof frequencies, and higher settings for moreselective control, for example when notching outresonances or feedback. The HM and LM bandshave an extended frequency range to overlap theHF and LF shelves. This allows tighter and moreprecise two point control of bass and treble whereneeded.-15-2010100 1kHz10k 30kUse the in/out switch to compare the original andequalised sound. The equaliser has a flat responseand therefore no effect when all the cut/boostcontrols are set to their centre detented position.ML4000 User Guide 23

GROUP / AUXILIARY SENDSThese controls send the channel signal to the audiogroups 1-8 and aux sends 1-12. They are the samefor both the mono and stereo channels.AUX1AUX2AUX3AUX4AUX5AUX6OOOOOOOOOOPRE+6+6GROUPS+6+6+6ROUTING SWITCHES. These route the channelsignal to the audio groups in pairs. The signal ispost-fader and follows the pan control. Mono orstereo groups can be created using the pan control.The LCRplus blend control does not affect thesignal routed to the groups.AUX SEND 1-8. These rotary controls adjust howmuch channel signal is sent to the mono auxiliaryoutputs 1-8. The 0dB position is marked at 3o’clock. An extra +6dB boost is available.For the stereo channels the left and right signals arecombined to provide a mono feed.AUX SEND 9-16. These rotary controls adjust howmuch channel signal is sent to the mono/stereoauxiliary outputs 9-12. They function according tothe position of the STEREO switches describedbelow. An extra +6dB boost is available.AUX7AUX8OOOOOO+6+6+6PRESTEREO. These configure aux 9-12 in pairs formono or stereo operation. In the up position theybecome independent mono sends. In the downposition they become stereo pairs with separatelevel and pan controls.For the stereo channels the left and right signals arecombined to provide a mono feed when the switchis in the up position. When pressed the signal isrouted in stereo to the pair of auxes.AUX9LEVAUX10PAN12PANOOAUXSTEREO1111-12LEVOO +6AUXOOOO+6+6+6STEREO9-10PREPREPRE. Switches the channel pre-fade signal to theauxiliary outputs. Aux 1-4 and 5-8 are switched ingroups of four, aux 9-10 and 11-12 are switched inpairs. In the up position the source is post-fade.When pressed the source is pre-fade. The pre-fadesource follows the setting of the internal jumperlinks.24 ML4000 User Guide

MAIN MIX and INPUT FADERSLCR+BLEND=MAINMIXMAIN MIX. A single switch routes the channelsignal to the 3 output main mix. Its balance andimage within the L, R and C outputs is determinedby the BLEND and PAN controls.LRPANL24=CRBLEND. This control adjusts the balance betweenthe LR and C outputs. Fully anti-clockwise all thesignal routes to the LR outputs and none to C. Atthe detented centre position the signal routesequally to the LR and C outputs. Fully clockwise allsignal routes to the C output and none to LR.BLEND does not affect the group routing. Thecontrol has a 3dB attenuation at centre position.The stereo channels route stereo to LR and sumthe signal in mono to C.MUTESAFE/EDITPAFLPK+60-610SIG5PAN. Adjusts the balance between the L and Routputs. It does not affect the C output. At thedetented centre position the signal routes equally toL and R. PAN and BLEND combine to adjust thebalance between the 3 outputs. PAN also adjuststhe balance between odd and even groups if theGRP PAN ON switch is selected. The control has a3dB attenuation at centre position.IDENT STRIP. Identifies the channel numbers andprovides a write-on area. The use of low adhesionartist or masking tape is recommended.12345678VCAGROUP0510203040MUTE. This momentary action switch turns thechannel signal on or off. Both pre and post-fadesignals are affected unless the pre-fade pre-mutesetting has been internally configured. The channelcan also be muted by the mute groups, VCA groupmutes, snapshot memories (externally controlled)and MIDI note on/off messages. The switchilluminates when the channel is muted.The switch also functions as an edit key when inEDIT GROUPS, EDIT SAFES or MIDI CHANNELSELECT mode. The channel mute status is alwaysdisplayed on the switch regardless of mode.OO26 ML4000 User Guide

SAFE / EDIT. This green LED has a differentfunction according to console operating mode:Normal The LED lights when the channel hasbeen made safe from the snapshot and MIDIautomation.Edit Safes Continues to indicate which channelsare automation safe while they are edited.Edit Groups The LED lights to indicate that thechannel is assigned to the VCA or MUTE group.Edit MIDI Channel Number The LED flashes toindicate which MIDI channel has been selected forthe console. This affects only CH1 to 16.PAFL. Press this switch to listen to the channelsignal in the headphones or engineers monitorwithout affecting the main outputs.Either PFL or stereo in-place AFL. Either PFL(pre-fade listen) or AFL (after-fade listen) isselected according to the master section INPUTPAFL switch. PFL is mono. AFL is stereo ‘in-place’as it provides a stereo mix of L and R with C mixedinto both. This lets you listen to the image of thesignal in the 3 output main mix using the consolestereo headphones and monitor.Latching or momentary action. The switchprovides latching or momentary action dependingon how long it is held down. Press and hold forlonger than 1 second for momentary action.PAFL override monitor. Pressing any input PAFLautomatically overrides any currently selectedoutput AFL or monitor source. Releasing PAFLrestores that selection.Auto cancel or Add mode. The master sectionADD MODE switch determines if pressing achannel PAFL cancels or adds to any previousselection.Clear all. Pressing the master section CLEAR ALLswitch turns off any PAFL / AFL switches selectedand restores the monitor source.INPUT SIGNAL METER. The 5 LED bar meterdisplays the pre-fade signal level. SIG lights todisplay signal presence at –26dB, -6, 0 and +6display normal signal level, and PK (peak) lightswhen the signal is within 5dB of clipping. PKsenses the signal at 4 critical stages in the signalpath, pre-insert, pre-EQ, pre-fader and post-fader,to warn of potential overload. PK can flash, forexample, if the preamp is clipping while signal readslow due to attenuation through an insertedprocessor.VCA GROUP Indicators. These LEDs light toshow which VCA groups the channel is assigned to.The channel can be assigned to more than onegroup. The channel is assigned or removed from agroup using the EDIT GROUPS function in the VCAmaster section. The LEDs always show VCA groupassignment.FADER. A 100mm smooth travel ALPS K-fader isfitted providing +10dB gain above the nominal 0dBoperating position. Audio is not passed through thefader. Instead, its position is read by the consolecomputer which produces a DC voltage to controlthe level of the channel VCA (voltage controlledamplifier).Removing the FaderThe vertical, offset shaft design of the fader reducesthe risk of damage through dust and liquid spillage.The fader should provide long life subject to theusual wear and tear and not normally requireservicing or replacement. If necessary, access tothe faders is by removal of the fader module fromthe top of the console. First unclip and lift away theplastic ident strip. Undo the fader panel crossheadscrews and lift the module up being careful not todamage the circuit assemblies and cables. Thefader can be unscrewed, its harness unplugged,and then removed by sliding it out of the assembly.Checking the Channel Signal LevelWhen plugging in a new source start with thechannel muted or fader and sends turned down.This prevents any unexpected signal in theloudspeakers. Adjust the channel GAIN control foran average channel meter reading of ‘0’ with loudmoments lighting ‘+6’. Select PAD if the signal isstill too high with gain turned down. Reduce thegain if the signal meter red PK LED lights. It maybe necessary to re-adjust the gain if changes aremade to the equaliser or inserted signal processing.If the PK LED lights with channel meter reading lowthen check the channel for correct gain structure, inparticular the equaliser and inserted equipmentsettings.Set the master INPUT PAFL switch for PFL andselect channel PAFL to check the signal quality inthe headphones while the fader is off. The signal isalso displayed on the main VU and LED bar metersproviding finer resolution and dynamic display.ML4000 User Guide 27

Using LCRplusThe ML4000 LCRplus system extends signalimaging beyond conventional LR and LCR panningby allowing full 3 speaker balance and positioningfrom each channel and group. This satisfies thestandard requirements of mono, stereo andconventional LCR speaker systems as well asproviding a unique extended capability.The MAIN MIX. This comprises 3 outputs: L (left),R (right) and C (centre). How you use thesedepends on the type of sound system you arerunning. For example, you may use all for a 3cluster LCR system, just L and R for a conventionalstereo system, or C only for a mono system.PAN and BLEND. These are the two imagingcontrols that let you position the sound anywhere inthe three output mix. For example, it could bebalanced in all three outputs, somewhere betweenany two, or routed to just one. The controls have asmooth response with 3dB centre attenuation toensure that the power is distributed evenly betweenthe speakers as you move the signal around.MONO PA. To control a mono sound system usinga single master fader, set BLEND fully clockwise toroute all the channel signal to the C output. The LRoutputs are not used and PAN has no effect.BLENDMONO PAPANLRLCRL R CSTEREO PA. To control a stereo sound system,set BLEND fully anticlockwise to route the signal toLR only. Use PAN to position the sound betweenthe speakers. The C output is not used.STEREO + CENTRE FILL. A centre fill speaker isused to reinforce the sound to the first few rows ofthe audience when the L and R speakers arepositioned far apart. Start with BLEND fullyanticlockwise to set up the main LR mix. Thengradually rotate BLEND clockwise to raise thesignal in the fill speaker as required. It should notbe necessary to adjust beyond the centre positionat which point equal signal is fed to all 3 outputs.Beyond centre the LR signal would dropsignificantly. Having LCRplus available on everychannel and group means that you can choosewhich signals are reinforced, for example the backstage mics rather than the front floats which wouldfeed back if routed to the fill.STEREO+FILLBLENDPANLRLCRL R CLCR PA. LCR systems are increasingly popular inlarge installed or touring systems. They comprisethree main speaker stacks, left, centre and right toprovide better coverage of a large audience. Insome situations C is used only for sounds such asvocals to lift them out of the mix making them moreintelligible, leaving backing instruments in the LRspeakers. In other situations individual sounds arepanned between the speakers according to sourceposition.Adjust both BLEND and PAN to position eachsound exactly where you want it whether in onespeaker, between two, or blended across all three.Use BLEND to balance between the LR and Cspeakers. Use PAN to adjust the balance betweenthe L and R speakers. PAN does not affect thelevel of the C output.STEREO PAL R CLCRL R CBLENDBLENDLRCLRCPANPANLRLR28 ML4000 User Guide

PAN LBLENDLR CPANL RPAN L to CBLENDLR CPANL RPAN C to RL C RL C RL C RPositioning the Sound. Use the PAN and BLENDcontrols to position the sound within the LCR image.It is possible to dynamically move the sound usingthe two controls together but this is not a commonrequirement in real world systems. For example,dynamically panning an actor as he moves across atheatre stage may be uncomfortable for the frontrow listeners who hears the voice move from saythe left speaker upwards to the hung centrespeaker, and then back down to the right ratherthan evenly across the stage. Static positioning ismore common in the theatre situation where the earadjusts to and accepts the source of the sound.BLENDPANLRCPAN L. To position the sound at the left speakeronly set PAN fully left and BLEND to LR.L RPAN RBLENDLR CPANL RL C RPAN L to C. To position the sound between theleft and centre speaker set PAN fully left and adjustBLEND clockwise from LR to C.PAN C to R. To position the sound between thecentre and right speaker set PAN fully right andadjust BLEND anticlockwise from C back to LR.PAN R. To position the sound at the right speakeronly set PAN fully right and BLEND to LR.LRBLENDLRPANLCRL C RFocussing the Sound. Typically, a large musicvenue or festival may use an LCR system withvocals and key sounds such as kick and bass fed tothe main centre cluster and backing instruments fedto the LR stacks. This helps the clarity andintelligibility of these sounds.FOCUS LR to CBLENDLR CPANL RL C RUse BLEND to position each sound in the LR or Cspeakers. You can dynamically bring a soundforward by panning it from LR to C. For example,use this to improve the focus of a backinginstrument such as guitar for the duration of a leadsolo. Pan it back from C to LR again after the solo.BLEND C to LRBLENDLR CPANL RBLEND LR to CBLENDLR CPANL RL C RL C RBlending the Sound between Speakers. In nonidealsituations where the three speakers do notcover all the audience evenly, a small portion ofcentre cluster lead sounds such as vocals can beblended into the LR stacks so improving coverage.Similarly, LR sounds can be blended into the centrecluster.Using the two controls you can adjust the balancesmoothly listening to the results and being able tomake small changes without the big jumps involume associated with switched routing.While you could use the matrix to balance groups ofsounds between the speakers, LCRplus lets youbalance the image independently for each sound.ML4000 User Guide 29

STEREO INPUT and EQ-3GAIN-6-3GAINL+R-6-15-15-15-1531018A ON31018B ONMONO LMONO RHF+15HM+15LM+15LF+15EQ INTwo dual input stereo channels are provided to theright of the master section on standard models. Afurther four are provided to the right of this on theoptional ‘B’ version consoles. These extra fourstereos replace the standard model mono channels.GAIN. Adjusts the input sensitivity to match theconnected line level source to the internal 0dBuoperating level of the channel. Provides a variable24dB range from –6dB attenuation to +18dB gain.Inputs A and B have independent gain controls sothat you can switch between sources without havingto re-adjust the gain, or mix them together in therequired balance. The gain should be set so thatthe channel meter averages ‘0’ with loudestmoments lighting ‘+6’. Reduce gain if the red peakmeter lights.A (B) ON. Turns the input source on or off.Source A and B are mixed together when A ON andB ON are both pressed. No source is selected ifboth switches are off.MONO L (R). With both switches up the selectedsource is routed through the channel in stereo.Press MONO L to select the left input as a monosource. Press MONO R to select the right input asa mono source. Press both switches to sum the leftand right inputs together as a mono source.EQUALISER. The stereo channel equaliserprovides adjustment of 4 independent frequencybands. Each has a cut /boost control.HF The high frequency band has a shelvingresponse that cuts or boosts the higher (treble)frequencies by up to 15dB. The shelf turning pointis 12kHz.+20+15LF EQ250Hz2.5kHzHM The higher mid band has a bell shapedpeak/dip response that cuts or boosts by up to15dB. The centre frequency is 2.5kHz. The bellhas a Q (width) of 1.8.+10+5LM The lower mid band is similar to the high midbut has a lower centre frequency at 250Hz.0dB-5-10LF The low frequency band has a shelvingresponse that cuts or boosts the lower (bass)frequencies by up to 15dB. The shelf turning pointis 60Hz.-15-2010100 1kHz10k 30kE5 EQ IN. Switches the equaliser in or out.30 ML4000 User Guide

Using the Dual Inputs.The 2 (6 optional) stereo channels let you connectup to 4 (12 optional) stereo sources. Two sourcesmay be plugged into each channel strip. Either maybe selected or both can be mixed together as acommon source.The possibilities are endless. The advantage is thatyou can connect many stereo sources withoutwasting channels. Here are a few examples:Effects Returns. Typical application of the stereochannels is to return the processed output fromeffects devices such as reverb and multi-effectsunits. With full routing available you can send theeffects to the main mix, groups and auxes asrequired. The LCRplus panning lets you positionthe stereo return in the 3 speaker mix, for examplereverb mostly to LR with a little blended to C. Toomuch returned to C may affect intelligibility. Thesignal routes in stereo to LR but sums into monowhen blended to C.To save channels you could return two effects tothe same stereo strip, adjusting the gain separatelyfor each. This is convenient when you are workingwith several effects returned to the same mix, forexample different reverbs.Using the EqualiserThe channel equaliser can be used to creativelyenhance or correctively improve the tonal quality ofthe sound. For example, to brighten up a dullsound so that it stands out in the mix, to cut backrumble or hiss on a noisy reverb, or to shape theresponse of low level walk-in music.Before using the equaliser make sure that thesource is correctly adjusted, especially if it includesits own filters or EQ. Start with the EQ set flat andapply only as much boost or cut as is needed.Use HF to add sparkle to the sound, or to removehiss. HM centred around 2.5kHz can be used toadd presence and improve intelligibility bybrightening up the sound and helping it cut throughthe mix. LM centred around 250Hz can be used toadd warmth or reduce low frequency boominess.Use LF to add punch to the low end, or to removesource rumble and low frequency noise.Use the in/out switch to compare the original andequalised sound. The equaliser has a flat responseand therefore no effect when all the cut/boostcontrols are set to their centre detented position.Stereo Playback. You may have a CD player forwalk-in music and a DAT or similar player for prerecordedannouncements. You could connect bothto the same stereo channel and simply start theplayer, or switch the A or B input on, as required.Sound Effects. Here, you could connect twoeffects players such as MiniDisc to the same stereochannel. This lets you handle quick fire cues usingtwo machines rather than trying to cue up a singleplayer. Alternatively this could be used for abackup machine.Using Mono SourcesThe stereo channels can also be used with monoline level sources. Plug into either the left or rightchannel connector and select MONO L or MONO Ras appropriate.Alternatively, use these switches to select one trackof a backing or dual track tape where differentmaterial is recorded on each track, for example asong recorded with vocals on one and instrumentson the other.You can also mono a stereo source by pressingboth MONO L and MONO R together. Use thiswhen the stereo image is too wide or notappropriate for the application.ML4000 User Guide 31

GROUP / AUX 1-8and AUX 9-12 MASTERSAUX1FOHMONITOROOGRP/AUX 1reverse+6AFLmodeAUX2OOGRP/AUXreverse+6AFLAUX/GRP MODE. This switch reverses the groupfader and aux rotary master sections. It isunderpanel to protect it from accidental operation.Use a pen or pointed implement to select therequired setting. The default up position is flushwith the panel.In the up position FOH MODE is selected. This isthe default setting for the front-of-house application.In FOH mode the fader master section and insertare associated with the audio group while the rotarymaster is associated with the aux send.MAINMIXLCR+ =BLENDPANLR=CLCR+BLENDPANLRMAINMIX==CIn the pressed position MONITOR MODE isselected. This reverses the fader and rotary masterso that the fader master section and insert areassociated with the aux send while the rotarymaster is associated with the group. The groupalways feeds the matrix and sub grouping to mainmix regardless of mode.L RTBMUTEEDIT/SAFEAFLSTEREOL RTBMUTEEDIT/SAFEAFLAUX ROTARY MASTER. Adjusts the aux masteroutput level from fully off to a maximum boost of+6dB. The normal ‘0’ position is marked. Thisbecomes the group master when MONITOR modeis configured.AFL. Press this switch to listen to the master signalin the headphones or engineers monitor withoutaffecting the main outputs. The signal is monitoredpost-level so that the signal feeding the connectedequipment can be checked. The same capabilitiesapply as described for the fader master AFL.PK+60-6SIG505102030OOPK+60-6SIG505102030OOMAIN MIX. A single switch routes each group 1-8signal to the 3 output main mix. Select this to createup to 8 subgroups to the main mix. Its balance andimage within the L, R and C outputs is determinedby the BLEND and PAN controls. The groupalways feeds this sub grouping to main mixregardless of mode.BLEND. This control adjusts the balance betweenthe LR and C outputs. Fully anti-clockwise all thesignal routes to the LR outputs and none to C. Atthe detented centre position the signal routesequally to the LR and C outputs. Fully clockwise allsignal routes to the C output and none to LR. Thecontrol has a 3dB attenuation at centre position.PAN. Adjusts the balance between the L and Routputs. It does not affect the C output. At thedetented centre position the signal routes equally toL and R. PAN and BLEND combine to adjust thebalance between the 3 outputs. The control has a3dB attenuation at centre position.32 ML4000 User Guide

FADER MASTER. A 60mm smooth travel fader isfitted providing +10dB gain above the nominal 0dBoperating position. These faders control the outputlevel of group/aux 1-12. They are not part of theconsole VCA group system.TB ENABLE. Press these to enable talkback toany combination of grp/aux master outputs. Whenselected, pressing the TALK TO TB switch routesthe talkback mic signal, or pressing the OSC/NOISETO TB switch routes the oscillator/noise generatorsignal to the output. When not selected, pressingthese switches does not affect the output. Thetalkback and osc/noise signals are routed preinsert.MUTE. This momentary action switch turns thegrp/aux master signal on or off. The master canalso be muted by the mute groups, VCA groupmutes, snapshot memories (externally controlled),and MIDI note on/off messages. The switchilluminates when the signal is muted.The switch also functions as an edit key when inEDIT GROUPS or EDIT SAFES mode. The mutestatus is always displayed on the switch regardlessof mode.SAFE / EDIT. This green LED has a differentfunction according to console mode:Normal The LED lights when the master has beenmade safe from the snapshot and MIDI automation.Edit Safes Continues to indicate which mastersare automation safe while they are edited.Edit Groups The LED lights to indicate that themaster is assigned to the MUTE group.MIX SIGNAL METER. The 5 LED bar meterdisplays the post-mute, pre-fade mix signal level.SIG lights to display signal presence at –26dB, -6, 0and +6 display normal signal level, and PK (peak)lights when the signal is within 5dB of clipping. PKsenses the signal pre and post-fader to warn ofpotential overload.If the red PK LED lights check the channels feedingthe mix for correct operating level and reduce theinput level if necessary. You can use VCA groupsto simultaneously control the level of more than onechannel. Also check inserted processing forcorrect operating level.PFL/AFL MonitoringThe ML4000 intelligent P/AFL system provides thefollowing operating capabilities:Mono or stereo AFL. Press a single AFL switchto listen to that master as a mono signal fed to bothleft and right channels of the headphones and localmonitor. Press two related AFL switches togetherto listen to a related pair in stereo, ideal whenchecking in-ear monitor mixes. The odd numbermaster is fed to the left channel, even to right.Latching or momentary action. The switchprovides latching or momentary action dependingon how long it is held down. Press and hold forlonger than 1 second for momentary action.AFL override monitor. Pressing any master AFLautomatically overrides the currently selectedmonitor source. Releasing AFL restores thatselection.PAFL override AFL. Pressing any channel PAFLoverrides the current AFL selection. ReleasingPAFL restores AFL.AFL cancel PAFL. Pressing an AFL while one ormore PAFL is selected cancels that PAFL selectionand selects the AFL.Auto cancel or Add mode. The master sectionADD MODE switch determines if pressing achannel PAFL cancels or adds to any previousselection.Clear all. Pressing the master section CLEAR ALLswitch turns off any PAFL / AFL switches selectedand restores the monitor source.AFL. Press this switch to listen to the mastersignal in the headphones or engineers monitorwithout affecting the main outputs. The signal ismonitored post-insert, post-fader, pre-mute so thatany adjustments made to the faders or insertedprocessing such as EQ can be checked.IDENT STRIP. Identifies the master numbers andprovides a write-on area. The use of low adhesionartist or masking tape is recommended.ML4000 User Guide 33

Configuring Groups and AuxesDecide the application of the console whether front-of-house or monitor or doing bothjobs. Decide the number of audio groups required. The rest can be configured as fadercontrolled auxes.Front-of-House. This is the application with all mode switches in their default upposition. This provides 8 audio groups with paired routing switches and LCRplus subgrouping, 8 mono auxes switchable pre or post-fader on rotary masters for effects andmonitor sends, and a further 4 mono/stereo auxes on faders for more effects, monitorsand special feeds. The groups can be mixed to the 4 matrix outputs. If you do not needfader control on all 8 groups then you can press the mode switches to configure fadercontrolled aux sends with inserts.Stage Monitor. Press mode switches to configure the C fader as the engineers wedgemonitor, and to configure the number of fader controlled monitor mixes you need up to amaximum of 12. The rest can be used for effects sends. Up to 2 stereo mixes can beconfigured, for example when in-ear monitor mixing. Each mix provides an insert forpatching in an equaliser or other signal processing, full metering, mono or stereo AFL,and talkback enable. The groups are available on the rotary masters if required.The diagram below shows how the fader master section together with its insert pointreverses with the rotary master section when the mode switch is pressed. The Aux andGroup output XLR connectors do not reverse. The matrix and sub grouping is alwaysfed from the group signal regardless of mode.AUX MIXAUX1AUX OUTOO+6AUXAFLmodeFOHMONITORGROUP MIXINSERTMUTETBGROUP OUTEDIT/SAFEAFLPK+60-6SIG5051020306OO +67OO +68OO +6MATRIXMAINMIXLCR + =BLENDLR C=PANL RSUBGROUPOOGROUP34 ML4000 User Guide

MAIN MIX MASTERS10LSAFE/EDITPKMAINMUTE10RSAFE/EDITPKMUTE10CSAFE/EDITPKMUTECWEDGEmodeMONITORMUTE. This momentary action switch turns themaster signal on or off. It can also be muted by themute groups, snapshot memories (externallycontrolled) and MIDI note on/off messages. Theswitch illuminates when the signal is muted.The switch also functions as an edit key when inEDIT GROUPS or EDIT SAFES mode. The mutestatus is always displayed on the switch regardlessof operating mode.555000SAFE / EDIT. This green LED has a differentfunction according to console mode:555Normal The LED lights when the master has beenmade safe from the snapshot and MIDI automation.101010Edit Safes Continues to indicate which mastersare automation safe while they are edited.203020302030Edit Groups The LED lights to indicate that themaster is assigned to the MUTE group.404040O OO OOUsing the Engineers Wedge MonitorIt is best to use the same type of monitor speakeras provided on stage. This lets the engineer hearthe sound as the performer hears it.Select the underpanel WEDGE MODE switch toconfigure the C output as the engineers wedgemonitor. Use the insert to patch in any processingrequired, for example a graphic EQ to previewchanges in the monitor before applying them to themix being checked.Select LR, C, 2-TRK or none as the default monitorsource. Pressing AFL overrides the source to listento a selected output. Pressing PAFL overrides anyAFL selection to check one or more inputs.Releasing PAFL restores the previously selectedAFL. This is well suited to monitor mixing whereyou need to listen to the mixes in turn but quicklycheck individual inputs along the way.WEDGE MODE. This underpanel mode switchconfigures the C output to become the engineersmonitor when the console is used for the stagemonitor application. When pressed the monitorsource is routed in mono through the C insert andfader to the main output. The C mix bypasses thissection and is available from the matrix outputs ifneeded. The yellow LED lights when wedge modeis selected. The switch is protected to preventaccidental operation. Use a pen or pointedimplement to select the required mode.PEAK. The red PK LED senses the signal bothpre and post master fader and lights to warn whenthe main mix is within 5dB of clipping. Reduce theinputs to the mix if the LED flashes.FADER MASTER. The main mix L,R and C eachhave a 100mm smooth travel ALPS K-faderproviding +10dB gain above the nominal 0dBoperating position. These faders are not part of theconsole VCA group system.Pressing the TALK TO TB switch automaticallydims the output by 20dB to prevent feedbackbetween the local speaker and talkback mic.ML4000 User Guide 35

MATRIX and 2-TRACK4 Matrix outputs are available. Each has 11sources derived from group 1-8 and the LRC mainmixes. Conveniently positioned away from theother controls, these can be used to createindependent mixes for distributed speaker systems,recording, broadcast, video and other special feeds.They include mute switches, talkback assign,balanced XLR outputs and mono/stereo AFL.GROUP 1-8. Each of the 8 groups can be mixedinto the matrix. The source is derived post-fader.Adjust the level clockwise from fully off to +6dBboost. The ‘0dB’ position is marked.L,R,C. Each channel of the main output can bemixed into the matrix. The source is derived postfader.Adjust the level clockwise from fully off to amaximum +6dB boost.123OOOO+6+6LRCOO+6+61 LOO +6O2 ROO +6O3C+6+6TB ENABLE. Press this to enable talkback to thematrix output. When selected, pressing the TALKTO TB switch routes the talkback mic signal, orpressing the OSC/NOISE TO TB switch routes theoscillator/noise generator signal to the output.When not selected, pressing these switches doesnot affect the output. The talkback and osc/noisesignals are routed pre master level.45OOOO+6+6O +6TB45OOOO+6+6OTB+6MASTER LEVEL. Adjusts the matrix output levelfrom fully off to a maximum boost of +6dB. Thenormal ‘0’ position is marked.67OOOO+6+6LEVO +6MUTE67OOOO+6+6LEVOMUTE+6MUTE. This latching switch turns the matrixmaster signal on or off. It is not part of the consolemute group and automation system. The switchilluminates when the signal is muted.8OOOO+6+6AFLSTEREO8O +6OO+6AFLAFL. Press this switch to listen to the matrix signalin the headphones or engineers monitor withoutaffecting the main outputs. The signal is monitoredpost-level, pre-mute so that it can be checked whilethe output is muted.This switch has the same capability as the fadermaster section AFL. Includes momentary orlatching action, add or auto-cancel mode, all clearand PAFL override AFL logic.Mono or stereo AFL. Press a single AFL switchto listen to that matrix as a mono signal fed to bothleft and right channels of the headphones and localmonitor. Press two related AFL switches togetherto listen to a related pair in stereo, ideal whenchecking stereo sends. The odd number master isfed to the left channel, even to right.36 ML4000 User Guide

Using the MatrixThe matrix provides 4 additional console outputs. Itis a ‘mixer within a mixer’ taking its source from thegroups and main mix. It can be used to provideduplicate main outputs or to create new mixes fromthe main outputs. The possibilities are endless. Afew applications are discussed below:Distributed Speaker Systems. The traditionalapplication for the matrix is to feed a multi-speakersystem such as that found in theatre soundreinforcement. Use the console L,R and C outputsto feed the main front speakers typically hungaround the proscenium arch. Use the matrix toprovide independent mixes to the under-balcony,centre, side and rear fill speakers.The fill speakers should be delayed to acousticallyalign the signal with the stage so keeping thelistener focussed on the source of the sound. Theywould also be equalised to aid intelligibility withoutdistracting the listener from the source. You maywish to send only certain groups of sound to the fillspeakers. Use the group 1-8 controls to create therequired balance, for example just the vocal groupsto improve speech intelligibility. You could add in asmall amount of the main mix with the LRC controlsusing equal amounts of L and R to create a monomix.2-TRACK OutputThe 2-track output is sourced from the main LR mix.The factory default setting is post master LR faders.If you want to source pre-insert, pre-fader thenreplug the internal jumper links on the LR MIXcircuit board as shown below. For stereo recordingfrom a three channel LCR mix, or by creating a newbalance from the groups, use the MATRIX outputsinstead.FADERCONNECTORS2-TRACK SOURCEPRE-INSERTPOST-FADEPRE-INSERTPOST-FADEPRE-INSERTPOST-FADEPRE-INSERTPOST-FADELEFT OUTRIGHT OUTRecording and Broadcast Feeds. Use the matrixto create feeds in mono, stereo or both. It may notbe good enough to simply tap off the main consolemix, especially in smaller venues where theacoustic output from the band back line or orchestracontributes to the front-of-house sound. Here, theacoustically strong sounds such as drums, bassand guitar may be low in the front-of-house mix.You can compensate for this in the recording usingthe matrix. Start with the main LRC mix then addthe groups to boost selected sounds.Stereo from LCR. The matrix also lets you createstereo feeds from a 3 output LCR mix by adding Cinto both channels. Use one matrix with L+Crouted, the other with R+C to feed the left and rightrecording channels.Managing the Matrix. Check the matrix mix usingAFL. Press the related pair together to listen instereo if you are using two matrix outputs as astereo feed. Use TB to route talkback or theoscillator/noise generator to the matrix to testspeakers and feeds.ML4000 User Guide 37

VCA GROUPSMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEEDITGROUPSAFESAFE SAFE SAFE SAFE SAFE SAFE SAFESELECT GROUP TO EDITASSIGN USING CH MUTESPAFLPAFLPAFLPAFLPAFLPAFLPAFLPAFLMUTE10101010101010105555555500000000NOM555555551010101010101010202020202020202030303030303030304040404040404040OOOOOOOOOOOOOOOOVCA Groups ExplainedVCA groups provide an important alternative toaudio subgroups for simultaneously controlling thelevel of more than one channel using a single fader.Unlike an audio subgroup the signal is not routedthrough the group fader itself. Instead, you routethe signal directly to the main output. The VCAgroup fader sends a DC voltage to remotely controlthe assigned channel levels, so providing the groupcontrol. This is possible because each channel hasa pre-pan VCA (voltage controlled amplifier) whichcan be controlled by both the channel fader andgroup faders. This means that all post-fade outputsfrom assigned channels will be affected by the VCAmaster faders. Note that the channel pre-fade(monitor) sends are not affected by VCA groups.Note that the channel fader always controls thesignal level. If the channel is assigned to one ormore VCA groups then both the channel and thegroup faders control the level as if they were inseries. Refer to the diagrams over the page.The ML4000 has 8 VCA groups. Mono and stereoinput channels can be assigned to one or moregroups. The VCA group assignments are stored aspart of the console snapshot memory system(externally controlled).The benefits of VCA groupingEffects balance is maintained. Because thechannel post-fade sends are affected, the reverblevel returned elsewhere in the console also followsthe group fader movements.Stereo groups on one fader. Because the level iscontrolled before the channel pan circuit, a singleVCA group fader is all that is required to control astereo or LCR group. This would take 2 or 3 fadersusing audio groups if the channel pan image is tobe maintained.Multiple output control. The relative balancebetween all outputs is maintained when movingVCA group faders.Multi-level grouping. A channel can be assignedto more than one VCA group. This lets you assignmulti-level groups, or even a ‘grand master’,impossible with audio groups.Conventional audio groups are still useful when youneed to insert a signal processor such as acompressor to affect a group of signals, or you needto feed different groups of signals into the matrix.However, fewer such groups are usually requiredon a VCA equipped console. For this reason theML4000 provides the mode switching to reconfigureunused audio groups as full featured aux sends.38 ML4000 User Guide

Using VCA GroupsUse audio groups where you want to insert groupsignal processing or send groups of signals to thematrix. Use VCA groups if you want grouped levelcontrol only.Route the channels to the mix by pressing the MAINMIX switch. Adjust the PAN and BLEND controlsfor the image required. Assign the channel to therequired VCA group using the edit groups routinedescribed on the next page. Check the channelVCA assign LEDs next to the fader for correctassignment. Once assigned, the group faderaffects the channel level. Start with the group faderset to its nominal ‘0’ position.You can assign the channel to more than onegroup. Take for example a theatre musicalproduction. Here, you may have stagemicrophones assigned to Group 1, radio mics toGroup 2, and all microphones to Group 3. You mayalso have all channels assigned to Group 8 as a‘grand master’ to control the overall volume. In thiscase, a radio microphone would be assigned toGroups 2, 3 and 8. Note that the VCA groups affectall channel post-fade sends such as effects anddirect outputs but not the pre-fade monitors.CHANNELPANCHANNELFADERCHANNELPANASSIGNPRE-FADE SENDSPOST-FADE SENDSAUDIO BUSSPRE-FADE SENDSPOST-FADE SENDSSUBGROUPPANINSERTLRCMASTERFADERAUDIO GROUPLRCMAIN MIXMATRIX SENDMAIN MIXMUTE. This momentary action switch turns allassigned input channels on or off. It acts as aremote control for the mute switches on thosechannels. The channel pre-fade, post-mute sendsare also affected. The mute switches on assignedchannels light when the group is muted.The switch also functions as a group select keywhen in EDIT GROUPS mode, or as a safe selectwhen in EDIT SAFES mode.The VCA group mute cannot be assigned to a mutegroup or snapshot memory. However, channelswhich have been muted by the group can be storedin the memories.PAFL. Press this switch to listen to the groupsignal in the headphones or engineers monitorwithout affecting the main outputs. It acts as aremote control for the PAFL switches on assignedchannels. It actions either all channel PFL or stereoAFL in-place depending on the setting of the mastersection INPUT PAFL switch.Using PAFLSet the master section INPUT PAFL switch foreither PFL or stereo AFL in-place when you select aVCA group PAFL.Use PFL to check for signal presence while thegroup fader is down. This is useful when you needto check that all is well before raising the fader andbringing the assigned channels into the mix. Thechannel PFL switches are turned on and the signalsmixed together at the same level. Turn down themaster PFL TRIM control N1 if the signal is tooloud in the monitor.Use AFL to check the balance and contribution ofthe group of channels to the mix. The signal followsthe fader levels and image controls with C mixedinto the L and R so that you can listen to the LCRmix in stereo.ASSIGN+DCVCAVCA GROUPCHANNELFADERMASTERFADERDC VOLTAGEML4000 User Guide 39

VCA GROUP FADER. The fader adjusts the levelof all channels assigned to the group. The ‘0’position is referred to as the ‘nominal’ operatingsetting. At this position the channel levels are asmarked on the channel faders. Any adjustmentmade to the group fader offsets the channel level bythat amount. It is best to start with the group fadersset to their ‘0’ position.At minimum position the fader shuts off all assignedchannels. At maximum position it provides a further+10dB boost. Note that the maximum boost thatmay be applied to the channel VCA is +10dBregardless of how many group faders are assignedand set above ‘0’.The following diagrams illustrate the combinedchannel gain when assigning more than one VCAgroup. In this case the final gain is affected by thechannel fader and three VCA groups.Example 1. A 0dBu signal is passed through thechannel. The fader attenuates this by 5dB. Group1attenuates it by a further 10dB to –15dBu. Group2boosts by 5dB bringing it up to –10dBu. Group3 isset to ‘0’ resulting in the final level of –10dBu.Example 2. Once again the channel faderattenuates the signal to –5dBu. However, Group1is set to minimum turning the signal off. There is nooutput regardless of the setting of Groups 2 and 3.EDIT GROUPS. Press this switch to put theconsole into edit groups mode. The red LEDflashes to warn that the console is in edit mode.Press at any time while the LED is flashing torestore normal operating mode. All the VCA groupMUTE LEDs and channel SAFE/EDIT LEDs turn offwhen edit mode is first entered. This means that nogroup is selected for editing.The same edit groups mode is used to edit both themute and VCA groups. Pressing the associatedmaster switch while in edit mode selects the mutegroup or VCA group you want to edit.Only one group may be edited at a time. Thecurrent assignments for all groups are alwaysdisplayed on the channel VCA assign LEDs.To Assign a VCA GroupPress EDIT GROUPS. Next, press the MUTEswitch for the group you want to edit. Both switchesflash. The channel SAFE/EDIT LEDs display whichchannels are currently assigned to the group. Nowpress the channel MUTE switches to togglechannels in or out of the group. Press EDITGROUPS again to exit edit mode, or press anothergroup mute switch to edit a different group.Example 3. Here the channel fader and Groups 1and 2 faders are set for +10dB boost. The result isthe channel VCA reaching its maximum of +10dBregardless of the combined 30dB boost. It is best towork with the faders around ‘0’ and avoid excessiveboost.MUTESAFE/EDITPAFLPK+6MUTESAFEPAFLEDITGROUPSELECT GROUP TO EDITASSIGN USING CH MUTESMUTE0Example 1+20+15+10+5IN 00dB -5-10-15-20-30-40offCHANNEL GROUP 1 GROUP 2 GROUP 3-5-10+50OUT-10dB-6SIG12341050510505NOMExample 2+20+15+10+5IN 00dB -5-10-15-20-30-40offCHANNEL GROUP 1 GROUP 2 GROUP 3+50-5offOUToffExample 3+20+15+10+5IN 00dB -5-10-15-20-30-40offCHANNEL GROUP 1 GROUP 2 GROUP 3+10 +10 +100OUT+10dB(max)40 ML4000 User Guide

MUTE GROUPSEDITGROUPSELECT GROUP TO EDITASSIGN USING CH MUTESEDIT GROUPS. Press this switch to put theconsole into edit groups mode. The red LEDflashes to warn that the console is in edit mode.Press at any time while the LED is flashing torestore normal operating mode. All the groupMUTE LEDs and channel SAFE/EDIT LEDs turn offwhen edit mode is first entered. This means that nogroup is selected for editing.Only one group may be edited at a time. Thecurrent assignments for the selected mute groupare displayed on the channel SAFE/EDIT LEDs.MUTEMUTE GROUP. Press one or more of thesemomentary action switches to mute the channelsassigned to them. More than one group can beselected at the same time. The switch illuminateswhen the group is selected. Press again to turn thegroup off. Note that you can release and reselectthe assigned channel mutes while the group is on.To Assign a Mute GroupPress EDIT GROUPS. Next, press the MUTEswitch for the group you want to edit. Both switchesflash. The channel SAFE/EDIT LEDs display whichchannels are currently assigned to the group. Nowpress the channel MUTE switches to togglechannels in or out of the group. Press EDITGROUPS again to exit edit mode, or press anothergroup switch to edit a different group.Mute Groups ExplainedA mute group lets you turn a selected combinationof channels on or off with a single key press. Themute group key acts as a remote control for theassigned channel mutes.Mute groups are edited by selecting edit groupsmode and using the channel MUTE switches toassign channels to the group. The assignment isedited or viewed one group at a time.Using Mute GroupsApplications include muting groups of instruments,unused channels when mixing different bands, allchannels except walk in music before the showstarts, all effects, a bank of radio mics during aninstrumental number, stage mics during a scenechange, and so on.The ML4000 has 8 mute groups. You can selectmore than one group at the same time. VCA groupmutes cannot be assigned to the mute groups.Mute group settings are not stored as part of theconsole snapshot memory system. However,channels which have been muted by a group andhave not been made safe from the automation willbe stored.ML4000 User Guide 41

SNAPSHOT MEMORIESSnapshots ExplainedNote: This function is not available from theconsole control surface. It is an ‘extra’ featureaccessed via the MIDI or RS232 port using a PCrunning the Allen & Heath ML4 Archiver program.This can be downloaded from the Allen & HeathInternet site. Full details and instructions areprovided with the program.The mute and VCA assignment settings can bestored in the 128 console ‘snapshot’ memories.This is similar to taking a ‘picture’ of the settings.These can be recalled for scene or song changesduring live performance. Patch changes can belinked to external sequencers and effects devicesusing MIDI for sophisticated show control andarchiving of the memories.Channels made safe are not affected by thesnapshots. Memory data is retained on powerdown.The following capability is provided:• 128 Snapshot memories• Channel automation safes• Store console settings to the snapshots• Recall to overwrite the console settings• Auto increment on recall• Disable store to protect the memories• MIDI program message send and receive• MIDI dump in/out for archiving• MIDI channel number select• MIDI / RS232 activity indicatorsA Note on Snapshot MutesThe input and output channel mutes can be storedand recalled from the snapshot memories. TheVCA group and Mute group mutes cannot.However, those channels muted by the groups, andnot made automation safe, at the time the snapshotis stored will be stored and recalled.Recalling a snapshot does not turn off any muteswhich have been turned on by the Mute and VCAgroups. The groups always take priority.Channel Safes ExplainedA channel is referred to as being made ‘safe’ whenit is protected from being overwritten or affected byan automated process.Selected channels can be made safe from theautomation so that they are not overwritten by thesnapshots and MIDI messages. This is useful whenchannel allocations are changed ‘on the fly’ during apre-programmed show. Input and outputs can bemade safe.EDIT SAFES. Press this switch to enter edit safesmode. The red LED flashes to warn that you are inedit mode.Making a Channel Automation SafeFrom normal console mode press EDIT SAFES.The red LED flashes. Now press the mute switcheson the channels you want to make safe or restore toautomation. The channel SAFE/EDIT LED lights ifthe channel is safe. Press EDIT SAFES again toreturn to normal console mode.Using Snapshot MemoriesThe snapshot memories provide a powerfulautomation tool. Decide first if and how you wish touse the system:Automated Mutes and VCA assignments. Thisadds a powerful new level of automation. Attachingthe VCA group assignments to the snapshot systemmeans that which channels are assigned to theVCA groups can change scene by scene or song bysong. For example, a VCA fader may be assignedas ‘lead vocal’, another as ‘chorus’. A performermay sing lead in one song and chorus in the nextwhile a different singer (channel) takes the lead.The same group faders adjust the lead and choruslevels. This may also apply when mixing differentbands on the same faders, or applying differenteffects to different songs.For more automated control you can connect aMIDI sequencer or show controller to sequence andtrigger the memories according to programmedcues.Refer also to the section on MIDI /RS232 for detailson archiving the console settings and memorycontents.42 ML4000 User Guide

HEADPHONES / LOCAL MONITOR and P/AFL SYSTEMThe Console Monitor SystemPFLTRIMThe engineer is able to listen to any channel, mix ormatrix signal using stereo headphones and anamplifier/speaker system connected to the localmonitor output. In addition the C output provides anengineers wedge monitor feed when the console isconfigured for monitor operation. All haveindependent level control. The headphones areconnected by plugging in under the front armrest.2TRKLRLCRCmin0dB maxSOURCEThe source is selected as either the 2-track input,main LR mix, main C mix, or LR combined with Cfor listening to a 3 output LCR system using thestereo monitor. Pressing any console PAFL or AFLswitch overrides this selection with a priority wellsuited to live sound applications. The selectedsource can be listened to in mono or stereo. Allmonitor outputs automatically dim by 20dB whenthe TALK switch is pressed.MONOLOCALMONITORPHONES00under armrest1010AUTOCANCELADDPFLAFLIN-PLACECLEARALLThe ML4000 features an intelligent P/AFL systemthat provides extended monitoring capability. Theinputs can be selected as mono PFL or stereo inplaceAFL, the outputs as mono or stereo AFL.Selection is auto cancel or add mode. How theswitches are pressed determines if they have alatching or momentary function.Together with the wedge monitor capability thisgives the engineer total and conveniently quickmonitoring of all sounds passing through theconsole.The Monitor Logic• No switches pressed = quiet• Main selection: 2-TRK overrides LR, C• LR and C together = LCR in stereo• Pressing AFL overrides the main selection• Pressing PAFL overrides AFL and main• Releasing PAFL restores AFL• Pressing AFL cancels PAFL• CLEAR ALL cancels all PAFL and AFL• Input PAFL = mono PFL or stereo in-place AFL• Output AFL = mono or stereo AFL• Press related two together = stereo AFL• Hold P/AFL longer than 1 second = momentary• P/AFL selection is cleared on power down• The L,R,C meters = main mix or P/AFL• Pressing TALK dims all by 20dBML4000 User Guide 43

PFL TRIM. Adjust this control to set the listeninglevel of the PFL selection. Provides a range from -12dB attenuation to +6dB gain with normal ‘0dB’centre detented position. It does not affect the PFLmetering which always reflects the true reading.This lets you match the PFL listening level to yournormal AFL and main mix monitoring levels,typically much quieter. It can prevent the suddenrise in volume when you press a PFL switch.2TRK SOURCE. Press this switch to listen to the2-track input in the headphones, local, andengineers wedge monitors. The signal is fed inmono to the engineers wedge. This lets you checkthe output of a stereo recorder. This selectionoverrides any selected LR and C monitor sourceuntil released. It is itself overridden by any P/AFLselection. The 2TRK source is not sent to themeters.LR SOURCE. Press this switch to listen to themain post-fade LR output in stereo. It is overriddenby the 2TRK and P/AFL selections.C SOURCE. Press this switch to listen to the mainC (centre) output in mono. As with LR it isoverridden by the 2TRK and P/AFL selections.Press LR and C together to monitor a 3 output LCRsystem in stereo. This mixes the C signal equallyinto L and R.MONO. Press this switch to listen to the selectedmonitor source in mono. This only affects themonitor outputs.It is useful to check for mono signal compatibility. Ifthe signal drops in level or loses quality whenmonoed then there may be a problem with phasingbetween the left and right signals.LOCAL MONITOR LEVEL.stereo local monitor output level.This adjusts thePHONES LEVEL. This adjusts the level of themonitor signal in the stereo headphones.WARNING:To prevent damage toyour hearing start with the headphones level setto minimum. Avoid continued high listeninglevels in the headphones or any other earpiece.ADD MODE. This switch determines how theP/AFL system works. It selects whether pressingone or more input PAFL switches cancels or addsto the previous selection, the same for the outputAFL switches. It does not affect the how the PAFLand AFL switches interact.Auto-cancel. In its up position auto-cancel modeis selected. Pressing a PAFL automatically turns offany previous PAFL selection, and pressing an AFLturns off any previously AFL selection. This lets youquickly check the channels one at a time withouthaving to turn each selection off first.Add mode. Press this switch to select add mode.Pressing a PAFL adds to any currently active PAFLselection, and pressing an AFL adds to anycurrently active AFL selection. This lets you checkcombinations of signals in the monitor.PAFL / AFL interaction. Pressing any PAFL whileAFL is active automatically overrides the AFLselection by turning it off. Releasing PAFL restoresthe AFL selection. However, pressing any AFLwhile PAFL is active cancels the PAFL selection.Releasing AFL does not restore the PAFL selection.This logic suits live sound mixing where you wouldmonitor an output mix using AFL and interrupt it toquickly check the input sources using PAFL.INPUT PAFL. In its up position pressing an inputchannel PAFL switch selects PFL. In its downposition stereo in-place AFL is selected. It does notaffect the output AFL switching.Input PFL (pre-fade listen). The input channelpre-fade signal is monitored in mono.Input AFL (after-fade listen). The input channelpost-fade, post-pan/blend signal is monitored instereo. It follows the setting of the pan and blendcontrols with C mixed into L and R. This lets youcheck the level and image of the signal in the mix.Output AFL. The output channel post-fade signalis monitored in mono or in stereo pairs.CLEAR ALL. Press this switch to turn off allcurrently selected PAFL and AFL switches. Its LEDlights to show that one or more switches are activeand can be cleared.44 ML4000 User Guide

OSC/NOISE GENERATOROSC/NOISE TRIM. Adjusts the level of theoscillator or noise signal from –30 to +10dB.OSC/NOISETRIMminmaxDisablePINK NOISE1kHz OSCOSC/NOISETO TBOSC/NOISE SELECT. In its up position pink noiseis selected as the generator source. Press to selectthe 1kHz test tone.Pink noise. This is a constant level random noisesignal with equal energy per octave covering the fullaudio bandwidth.1kHz Oscillator. This produces a pure 1kHz tone(sine wave) for single frequency testing and line up.OSC/NOISE TO TB. Press this switch to route thepink noise or 1kHz tone test signal to anycombination of LR, C, Matrix and Grp/Aux outputsthat have their TB switches selected. The switchhas a latching action so that it can remain selectedwhile testing and calibrating the speakers.DISABLE. Press the underpanel switch to disablethe osc/noise generator. This protects againstaccidental operation during live performance.Using the Osc/Noise GeneratorWARNING: The generator is capableof producing a high level continuous signal. Toavoid damage to the speakers check that thegenerator and output levels are turned downbefore you route the test signal to the outputs.Start with the TRIM control turned down. Selecteither pink noise or the 1kHz tone as the test signal.Check all the TB enable switches are correctly setto route the signal to the required outputs. Makesure the DISABLE switch is up (flush with thepanel). Press OSC/NOISE TO TB to route thesignal to the selected outputs. Raise the TRIMcontrol and output faders to achieve the levelrequired. The test signal should register on theconsole meters in the normal way.Use pink noise to test the speakers for correctoperation. This is made up of the full audiobandwidth and can test all the drivers at the sametime. Used with a reference microphone and RTA(real time analyser) you can check the venueacoustics for frequency response.Use the 1kHz tone to check matching and line upbetween equipment by adjusting input and outputlevels using the meters as the reference.When you have finished using the generator besure to disable it if you want to avoid the possibilityof accidental operation during performance.ML4000 User Guide 45

INTERCOMINTERCOMTRIMINTERCOM TRIM. Adjusts the level of theintercom signal in the console headphones. This isnot affected by the PHONES level. The consolemonitor and intercom listen signals areindependently controlled.minmaxLISTENCALLTALK TOINTERCOMLISTEN. Press this switch to route the intercomsignal to the console headphones. You can choosewhen you want to listen in to the intercom. Thisprevents background noise when you are trying tomonitor the console signals.CALL. Press this momentary action switch tosignal the intercom. This lights the call lamps on allconnected intercom stations as well as the CALLlamp in the meterpod.TALK TO INTERCOM. Press this momentaryswitch to talk to all connected intercom stations. Itdoes not affect any of the console outputs.CONNECTOR. Rear panel 3-pin XLR femalesocket. Connect to the intercom ring using a 2 coreshielded audio cable such as a microphone cable.The Intercom ExplainedA Clearcom compatible interface is built into theconsole. This industry standard intercom systemprovides two way talk and signal communication sothat technicians and stage crew can communicateduring set up and performance. It uses a three wireconnection such as a microphone cable. Theintercom interfaces with the talkback mic andconsole headphones system. This avoids thedifficulty faced by operators in checking problemsources such as radio mics in the consoleheadphones while communicating with stage crewvia a separate intercom headset.It is useful to be able to turn off the intercom audiowhile checking console signals and to reduceunwanted background audio while running theshow. A large yellow lamp in the meterpod lights toattract the attention of the operator when theintercom is being signalled, especially useful ifLISTEN is turned off.The controls are logically grouped near the talkbacksection for easy single handed operation of thelisten, signal and talk functions.46 ML4000 User Guide

TALKBACKMIC INPUT. Top panel 3-pin XLR female socketfor plugging in gooseneck microphone for theconsole talkback system. The input is balanced.MIC IN+48VTALKBACKTRIM+48V. Press this underpanel switch to assign+48V to the XLR for microphones that requirephantom power.To avoid loud clicks do not press the TALK TO TBswitch while you are switching phantom power on oroff, or plugging or unplugging the microphone.minmaxUsing TalkbackTB TO LRTB TO CTALKTO TBTalkback lets the operator talk to one or moreconsole outputs, for example to communicate withperformers on stage through their monitor speakers,cue a recording via the matrix, or make a publicannouncement through the main mix.Plug in the talkback microphone. Select +48V if itneeds phantom power. Start with the TRIM controlturned down. Enable talkback to the requiredoutput by selecting its TB switch. The TALK switchgreen LED turns on. Check that the output fadersand levels are set to their normal operating position.Now press the large TALK TO TB switch and talkinto the microphone. Adjust the TRIM control forthe required volume. The console monitor level isautomatically dimmed to avoid acoustic feedbackand aid intelligibility. To avoid accidentally routingtalkback where it is not wanted you should releasethe TB enable switches when finished.TALKBACK TRIM. Adjusts the sensitivity of theinput to match the connected talkback microphone.The range is +5dB to +50dB gain.TB TO LR. Press this to enable talkback to themain LR output. When selected, pressing the TALKTO TB switch routes the talkback mic signal, orpressing the OSC/NOISE TO TB switch routes theoscillator/noise generator signal to the output.When not selected, pressing these switches doesnot affect the output. The talkback and osc/noisesignals are routed into the mix pre master level.TB TO C. This is similar to the switch describedabove but enables talkback to the main C output.TALK TO TB. Press this momentary switch to talkto all output destinations which have their TBswitches selected. The green switch LED lightswhen one or more TB switches are selected to warnthat the signal will be routed to an output whenTALK is pressed. If no TB switches are selectedthe LED remains off.The microphone is turned on when the switch ispressed and turned off as soon as it is released.Pressing TALK automatically dims the consoleheadphones, local monitor and engineers wedgemonitor by 20dB.If you do not need to use talkback you can releaseall the TB enable switches and use TALK TO TB asa monitor dim function, for example when using theintercom, when talking with someone at theconsole, or to dim the pink noise signal whentesting speakers.ML4000 User Guide 47

-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35161612129 966330033669912121515181821 21242427273030161612129 966330033669912121515181821 212424272730301612129 966330033669912121515181821 21242427273030161612129 966330033669912121515181821 21242427273030+-20107 5 3 1 0 316129630369121518212427301296303691215182124273012963036912151821242730129630369121518212427305+-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+PAFLAFLCALL161216129 963036303669912121515181821 212424272730301612963036912151821242730-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+-20107 5 3 1 0 35+The MeterpodLRCMATRIX MATRIX 1MATRIX 2MATRIX 3MATRIX 416161612 1212PAFL 999566620 10 7 3 1 0 3 55 20 10 7 3 1 0 3 55 20 10 7 3 1 0 3 55 33320 10 7 3 1 0 3 5 - +- +- +000AFL-+333666999121212CALL15151518181821212124 2424272727303030MATRIXMATRIX 1L R CMETERSAUX 9-12MTX 1-4The Console Meterpod520 10 7 3 1 0 3 5 +520 10 7 3 1 0 3 55 20 10 7 3 1 0 3 5 - +-+PAFLAFLCALLoffoffPFLThe ML4000 continues the Allen & Heath traditionto provide full signal metering at all key stages inthe signal chain. The channel LED meters give youimportant signal information and multipoint peaksensing. The output LED meters display the prefademix levels. The meterpod displays all the postfademain output levels including groups, auxes,matrix and main, as well the PFL/AFL metering ofany signal in the console.520 10 7 3 1 0 3 5 +-16520 10 7 3 1 0 3 55 20 10 7 3 1 0 3 5 - +-+-16PAFLAFLCALLAFL-L AFL-R AFL-MThe meterpod is a low profile, full length integraldesign that cannot be removed. It has 15illuminated moving coil VU meters. The right handVU meters can be switched to display either Aux 9-12 or Matrix 1-4 outputs. For example you couldconfigure the console to display Groups 1-8, LCR,and Matrix 1-4 on the meters in front-of-housemode, or Aux 1-12 in stage monitor mode.PAFL55520 10 7 3 1 0 3 20 10 7 3 1 20 10 7 3 1 5 0 3 5 0 3 5 - +-++ AFLCALLoff off AFL16-16PAFL5520 10 7 3 1 0 3 55 20 10 7 3 20 10 7 3 1 0 3 1 5 0 3 5 - +- +-+ AFLCALLAFL-L AFL-R AFL-MThe 3 main output meters are duplicated on bothVU and LED bar meters so that the main orPFL/AFL signals can be checked for average andpeak levels simultaneously. Bright red LEDs lightwhen an input PAFL or output AFL has beenselected. The meters switch to display the PFL orAFL signals in mono or stereo+mono. Stereo AFLdisplays the left and right signals as well as thesummed mono signal so that mono compatibilitycan be checked.A large CALL lamp is positioned centrally to grabthe attention of the operator when the intercom isbeing signalled.The console lamp connectors are positioned on therear of the meterpod. Standard 4-pin right-angledXLR gooseneck Littlites are recommended.48 ML4000 User Guide

GRP/AUX VU Meters 1-8. Illuminated moving coilVU (volume unit) meters display the output levels ofmix 1 to 8. Depending on the setting of the mastersection mode switches these display group or auxsignals. The signal is metered post-fade, postmute.Meter TypesBoth VU and LED bar types of meter are providedon the ML4000. This gives you the best of bothaverage and peak metering.MAIN LRC VU Meters. Illuminated VU metersdisplay the output levels of the main mix. Thesignal is metered post-fade, post-mute. The metersautomatically switch to display PFL or AFL levelswhen a PAFL or AFL switch is selected.520 10 7 3 1 0 35 +MAIN LRC Led Meters. These 16 LED bar metersduplicate the readings of the main VU meters. Theyalso switch to display PFL or AFL when selected.Sensitivity ranges from –30dB to +16dB. A 0dBmeter reading represents 0dBu at the main XLRoutputs.Three LED colours display signal condition:Green. Normal signal readings up to 0dB.Yellow. Hot signal readings above 0dB and up to12dB. Loud moments reading up to 6dB are fine.Higher readings warn of reduced headroom.Red. Lights at +16dB to warn that you are within5dB of clipping and audible distortion. If this flashesthen reduce the gain or mix levels.PAFL and AFL Indicators. These light when aninput PAFL or output AFL switch is selected. Theyshow that the main meters and console monitor areswitched to the P/AFL rather than main mix signals.CALL Lamp. Lights when the intercom is beingsignalled. Its large size and position in themeterpod ensure it grabs the attention of theoperator when signalled.MATRIX Meter Select. Press the METERS switchin the master section to switch the right hand VUmeters to display the Matrix 1-4 rather than Aux 9-12 output levels. The green LED in the meterpodlights when matrix is selected.-VU Meter. The VU (volume unit) meter is anestablished standard for measuring audio signals.Unlike LED meters, it is easy to read under alllighting conditions. This makes it well suited tooutdoor festival work. It has reasonably slowdynamics (attack and release) and is therefore goodat displaying the average music programme. It isnot able to display fast peaks and transients. Thescale is restricted between –20 and +5 to providegood resolution around average reading. A readingof ‘0’ represents 0dBu at the main outputs.1612963036912151821242730LED Bar Meter. This meter comprises a ladder ofLEDs each set to light when the signal reaches itspreset level. It has the advantage of much fasterdynamics and can show the musical peaks andtransients. The scale is extended to read from alow –30 to a very high +16 which represents a peakwarning 5dB before clipping.AUX/MATRIX VU Meters. Illuminated moving coilVU (volume unit) meters display the output levels ofAux 9-12 or Matrix 1-4 if selected. The signal ismetered post-fade/level, post-mute.ML4000 User Guide 49

MIDIMIDI OverviewMIDIRS232DUMPEDIT SAFESUse CH MUTESMIDI CHHold and press CH1>16 MUTEThe ML4000 includes a Musical Instrument DigitalInterface (MIDI) port. Standard 5-pin IN, THRU andOUT sockets allow connection to external MIDIequipment such as computer show control systems,sequencers, instruments and data archivingdevices. Applications include sophisticated ‘handsoff’scene control, effects and instrument patchcontrol, switching of signal processing remotecontrollers, and archiving of the console settingsand memories for later re-use.What the console MIDI can do :Turn channel mutes on and offRecall snapshot memoriesSnapshot program change messagesOUTTHRUINMIDIRS232 AFL SysEx messages for BSS & dbxcontrollersSELECTArchive console settings and memoriesWhat the console MIDI cannot do :Turn Mute Groups on and offThe MIDI CablesUse standard 5-pin 180 degree DIN type male-tomaleMIDI cables. These should be available fromyour local audio dealer or music shop. The cablesshould not exceed 15 meters (50 feet) in length.To control external equipment plug console MIDIOUT to external equipment MIDI IN. To control theconsole plug external equipment MIDI OUT orTHRU to console MIDI in. To pass MIDI throughthe console to other equipment plug console MIDITHRU to equipment MIDI IN.Make sure the same MIDI channel number isselected on the console and external equipmentyou want the console to communicate with.Turn VCA group mutes on and offAssign channels to VCA groupsControl VCA fader levelsThe capabilities of the console automation systemare subject to continual development and newfeatures may be added in time. The latestoperating software is available on the Allen & HeathInternet site together with loading instructions.Selecting MIDI OperationFor MIDI operation make sure the rear panel switchis set to the MIDI position. The RS232 setting isonly used when updating the console operatingsoftware to a new version, or with the Allen & HeathML4 Archiver utility for the PC.Changing the MIDI Channel NumberHold down the master section MIDI CH key. Thecurrent MIDI channel number is displayed on one ofthe CH1 to 16 SAFE/EDIT LEDs. The LED flashesto attract your attention. Simply press one of theCH1 to 16 MUTE keys while holding down MIDI CHto change the MIDI channel number. The channelmute is not affected during this operation.50 ML4000 User Guide

Standard 'B' versionsHEX (cc) MUTE 32ch 40 & 48ch00 GRP/AUX 1 GRP/AUX 1 GRP/AUX 101 GRP/AUX 2 GRP/AUX 2 GRP/AUX 202 GRP/AUX 3 GRP/AUX 3 GRP/AUX 303 GRP/AUX 4 GRP/AUX 4 GRP/AUX 404 GRP/AUX 5 GRP/AUX 5 GRP/AUX 505 GRP/AUX 6 GRP/AUX 6 GRP/AUX 606 GRP/AUX 7 GRP/AUX 7 GRP/AUX 707 GRP/AUX 8 GRP/AUX 8 GRP/AUX 808 AUX 9 AUX 9 AUX 909 AUX 10 AUX 10 AUX 100A AUX 11 AUX 11 AUX 110B AUX 12 AUX 12 AUX 120C0D0E0F10 MATRIX 1 MATRIX 1 MATRIX 111 MATRIX 2 MATRIX 2 MATRIX 212 MATRIX 3 MATRIX 3 MATRIX 313 MATRIX 4 MATRIX 4 MATRIX 41415161720 CH 1 CH 1 CH 121 CH 2 CH 2 CH 222 CH 3 CH 3 CH 323 CH 4 CH 4 CH 424 CH 5 CH 5 CH 525 CH 6 CH 6 CH 626 CH 7 CH 7 CH 727 CH 8 CH 8 CH 828 CH 9 CH 9 CH 929 CH 10 CH 10 CH 102A CH 11 CH 11 CH 112B CH 12 CH 12 CH 122C CH 13 CH 13 CH 132D CH 14 CH 14 CH 142E CH 15 CH 15 CH 152F CH 16 CH 16 CH 1630 CH 17 STEREO 3 CH 1731 CH 18 STEREO 4 CH 1832 CH 19 STEREO 5 CH 1933 CH 20 STEREO 6 CH 2034 CH 21 CH 17 CH 2135 CH 22 CH 18 CH 2236 CH 23 CH 19 CH 2337 CH 24 CH 20 CH 2438 CH 25 CH 21 STEREO 339 CH 26 CH 22 STEREO 43A CH 27 CH 23 STEREO 53B CH 28 CH 24 STEREO 63C CH 29 CH 25 CH 253D CH 30 CH 26 CH 263E CH 31 CH 27 CH 273F CH 32 CH 28 CH 2840 CH 33 CH 29 CH 2941 CH 34 CH 30 CH 3042 CH 35 CH 31 CH 3143 CH 36 CH 32 CH 3244 CH 37 CH 33 CH 3345 CH 38 CH 34 CH 3446 CH 39 CH 35 CH 3547 CH 40 CH 36 CH 3648 CH 41 CH 37 CH 3749 CH 42 CH 38 CH 384A CH 43 CH 39 CH 394B CH 44 CH 40 CH 404C CH 45 CH 41 CH 414D CH 46 CH 42 CH 424E CH 47 CH 43 CH 434F CH 48 CH 44 CH 4450 STEREO 1 STEREO 1 STEREO 151 STEREO 2 STEREO 2 STEREO 2525354 MAIN L MAIN L MAIN L55 MAIN R MAIN R MAIN R56 MAIN C MAIN C MAIN CChannel MutesPressing any input or output channel MUTE switchtransmits a MIDI Note On message. Similarly,receiving a MIDI Note On message will turn theassociated channel mute on or off, unless thechannel has been made automation safe.Console mutes are mapped to MIDI Note numbersas shown in the table. Running status is supportedon receive and transmit.Transmit. Pressing a channel MUTE switchtransmits the following Note On messages:Where9n cc vv 9n cc 00n = console MIDI channel numbercc = input or output channel numbervv = 3FH for mute off, 7FH for mute onReceive. The console responds to the followingMIDI Note On message:Where9n cc vv (00 is ignored)vv < 40 = mute off,40

Archiving the Console SettingsThe console settings can be saved to an externaldevice such as a MIDI sequencer or data archiverusing the dump out facility. Saved settings can beloaded back into the console using dump in. This isideal when you want to archive the settings to useat a later date, for example a re-run of a previousperformance. You can also use the dump facility toprogram additional ML4000 consoles, for examplewhen setting up duplicate shows or swappingconsoles around. Simply link MIDI OUT from one toMIDI IN of the other and action the dump out facility.Settings which are archived :Current mute settingsMIDI Dump Message FormatThe format for dump out and in is identical. Thedump data string is made up of multiple SystemExclusive messages (known as packets) whichcontain the console information.Transmit and Receive.packet is as follows:The format for a singleF0 F7 = 00 00 1A 50 07 VV vv nnWhereVV = software version number – unitvv = software version number – decimalnn = console MIDI channel numberCurrent Mute group assignmentsCurrent VCA group assignmentsAutomation safesAll snapshot memories = packet number from 0 to 127 = block of console data (7-bit format) = checksum to allow error detectionSettings which are not archived :Current console operating modeCurrent PAFL selection and settingsMIDI Dump OutConnect the console to a suitable MIDI archivingdevice. Set the same MIDI channel number onboth. Check the rear switch is set to MIDI. Pressthe DUMP key. The console dumps the currentsettings and memory contents using a SysExmessage string. During this time the DUMP andMIDI LEDs light to show that data is being sent viathe MIDI port. Note that this operation can take upto 10 seconds during which time the console mutes,assignment and P/AFL operations are interrupted.MIDI Dump InConnect the console to the MIDI archiving device.Set the same MIDI channel number on both. Checkthe rear switch is set to MIDI. Start the processusing the MIDI archiver. The console currentsettings and memory contents are overwritten.During this time the DUMP and MIDI LEDs light toshow that data is being received by the console.Note that this operation can take a while duringwhich time the console mute, assignment and PAFLoperations are interrupted.MIDI Dump ErrorsIf the console or connected equipment fails torespond to a MIDI dump then check:• The MIDI cable is good and correctly plugged• The same MIDI channel number is selected• The rear panel switch is set to MIDI• Try againAllen & Heath ML4 ArchiverThe ML4Archiver Windows utility for the PC canbe downloaded from the Allen & Heath Internet site.This can be used to archive data to and from thePC via MIDI or RS232.The program also includes the useful SnapshotManager which lets you store and recall the consolemute settings and VCA group assignments from the128 internal snapshot memories. The snapshotscannot be accessed from the console control panelitself. The archiver provides this extra feature.Check the Allen & Heath Web site for further detailsand loading instructions.If you are using a MIDI sequencer to record thedump out data string then make sure you play itback at the same speed you recorded it. If youdump it back into the console faster than it wasrecorded some data may not load correctly.52 ML4000 User Guide

Operating System Technical SupportOperating Software Version NumberYou can check the current version number of theML4000 software running on the console using aPC connected via RS232. Instructions for this areprovided on the Allen & Heath Internet site.Loading New Operating SoftwareCheck the Allen & Heath Web site for the latestversion of console software. New software isloaded from a PC via the RS232 port.IMPORTANT ! The current console settings andsnapshots may be lost when you load newoperating software. If you wish to keep yoursettings and snapshot contents, first archive themusing the dump out facility. Restore these afterloading the new software by using dump in.Download the software from the Allen & Heath Website to your PC computer. Connect the PC RS232port to the console RS232 port using a standardpin-to-pin (not null modem) 9-pin serial cable. Setthe console rear panel switch to the RS232 position.Power up the console. The console awaits datafrom the PC. Follow the instructions provided onthe Web site for loading the new software into theconsole. When completed make sure you set theconsole rear panel switch back to its normaloperating position, typically MIDI.Power Up and Power DownThe console settings are saved when power isremoved. On power up these settings are restored.To Reset the Console SettingsHold down the MIDI CH and EDIT SAFES keystogether while turning on the console to reset allcurrent settings. This does not affect the contentsof the snapshot memories. The default settings arerestored:• Selects normal console operating mode• Clears all current Mute Group assignments• Clears all current VCA Group assignments• Clears all channel automation safesTo Reset the Snapshot MemoriesHold down the MIDI CH and DUMP keys togetherwhile turning the console on to clear all thesnapshot memories. This does not affect thecurrent console settings. For all snapshots reset:• Clears all stored mutes• Clears all stored VCA Group assignmentsTo reset all Settings and MemoriesHold down the MIDI CH, the EDIT SAFES andDUMP keys together while turning the console on toclear all current settings and the memories.Contacting Allen & HeathIf you have any queries about the automationsystem please quote the console model, serialnumber and operating system version number inany communication with Allen & Heath or yourappointed service agent. Technical support isavailable through your dealer or by visiting the Allen& Heath Internet Web site.www.allen-heath.comML4000 User Guide 53

USER NOTES :54 ML4000 User Guide

ML4000 User Guide 55STEREOGRP/AUX 2PADOO OO OO8VCAGROUP30405671020123405-6SIG10530401020304010200510505510PAFL0+6PKSAFE/EDITMUTEPANRL=LRCMETUPAFLSAFEPAFLSAFEMETU1VCA 130OOVCA 2230OO+6+62NBLEND12OO=+NAPLCR+6MAINMIXOOOOVELAUXAUX11 11-12+6STEREOPRE+69-109OOAPVELAUX10+6PRE8OOAUXAUXPRESTEREO+6-6-652010SIG0552010SIG05AFLSTEREOEDIT/SAFEPK0+6PK+60EDIT/SAFEAFLGROUPSOOOO7AUX+6+6OO56AUXAUX+64OOOOAUX+6+6OO3AUX+6TBLMUTEPANLR=RLRMUTETBLRCPANC=AFLMIXMAINLCRBLEND+ =OOLCR+BLEND=MIXMAINOOAFL6LF1OOAUXAUXPRE+6-15 +15EQ INLM90-155020Hz+15130200Hz-158035Hz45180 +15300Q1k450reverseGRP/AUX 1MONITORAUX1FOHAUX2reversemode+6+6+6OOOO8OO7AFLOMUTEO +65k1k500Hz700 7k15kQHM2kHz-153k20kHz HF+15GAIN7k3k20Hz3010kIN300400602010- 101005020dB4040C3+6+6+65OOOOOO4LEVTBOO +6+6+6OO2OO1OOOOR+6+6L+48VSAFE/EDITWEDGEOOOOO OO OO OO O OO OO OO10051020304030403040102010203040102005051051050510530401020304010200510505510VCA 5SAFEPAFLSAFEMETUPAFLMETUSAFEVCA 4VCA 3330OO30OO4 530OOPAFLPAFLMETUMETUSAFEPAFLSAFEMETUVCA 6630OO7VCA 7OO305304030401020102030401020050510510505510ASSIGN USING CH MUTESSELECT USING GROUP MUTEEDIT MUTE & VCA GRPSPAFLPAFLMTEUSAFESAFEMUTEMUTE GROUPS8VCA 830OO30OO9 1030OOSAFE/EDITPKPKSAFE/EDITMETUPKMETURMAINL1130OO12CO30OOOOOSIG8GROUPVCA56783040VCAGROUP10205671234-6SIG105234510 -63040102005105ST2SAFE/EDITSAFE/EDITMONITORCmode+60PKMETUPAFL+60PKMUTEST1LLRBALLR= C BALLRPAFLMUTER= COSC/NOISE1kHz OSCPINK NOISEINTERCOMTALK TO100+6+6+6+6+6+6LCRPANBLENDEDIT/SAFE-6-6-6SIG5201052010SIG50 0552010SIG05EDIT/SAFEPK+6STEREOPK0+6EDIT/SAFEAFL0PK0+6AFL-6-65201005SIG52010SIG50AFLSTEREOPK0+6AFLEDIT/SAFESTEREOPK0+6EDIT/SAFEAFL==LRMUTELRTBMUTE=LRPANPANCLRLTBMUTE= C LRPANO+BLENDMIXMAIN=+BLENDLCRLCROOAFLMIXMAIN= +BLENDLCRAFLOOORLRTBTBMUTEPANCCLR=LRMUTETBLRPANC=AFLMAINLCRBLENDMIXMAINMIX+ =AFLOOLCR+BLEND=MIXMAINOOAFLAFLEDIT/SAFE-6-6-6SIG520105201005SIG0552010SIG05PK+6EDIT/SAFEPK+60 0AFLEDIT/SAFESTEREOPK0+6AFL-6-652010SIG0552010SIG05STEREOPK0+6EDIT/SAFEAFLPK0+6EDIT/SAFEAFLTBMUTERLTBMUTEC=LRTBMUTEMIXMAIN=+AFLOOPHONESunder armrest0AFLMUTETBALLIN-PLACECLEARMUTETBTO TBTALKPAFLADDAUTOPFLCANCEL10CALLminLISTENmaxLEVAUX666GRP/AUX 5AUXGRP/AUX 3reverse3AUX4GRP/AUX 4reverseAUX5OMUTEOO +6OO8+6OO7+6OOAFLOO8+6OOO7reverseGRP/AUX 6AUX6reverseGRP/AUX 7AUX7reverse+6AFLSTEREO+6+6+6 OOMUTEOO +6OO8+6OO7+63C3OOOOO5LEV+6+6OO4+6TBOOOO5+6OOO4OOOOOO2 R+6+61 L+6+6OOOOOO213C+6LEV+6+6TB+6 OOOOOO5+6+6OO4+6+6+6R+6+6OOOOLOOOO2+6+61MIDI CHHold and press CH1>16 MUTEGRP/AUX 8reverse8MONITORLOCALMONOCLRLCRAFL+6OOMUTE2TRKminPFLTRIM0dBSOURCEINTERCOMTRIMTB TO CminTB TO LRmaxmax+48VTALKBACKMIC INTRIMDUMPUse CH MUTESEDIT SAFESMETERSCTB+6OOMIDIRS232+6+6OOROOLMTX 1-4DisableTO TBminmaxAUX 9-12OSC/NOISE-17TRIM+48+1722LL12OOLAB+BLENDLCROO11AUXOOVAUXEL12MIXMAIN+6=OOLABLCR+BLEND11-12PRESTEREO+6+6OOOO11VELAUXAUX9OOVELBA10AUX8AUXAUXOO99-10PRE+6 OOVELBA10AUXPRESTEREO+6 OO8AUXAUXMAINMIX=+6STEREO11-12PRE+6+69-10PRE+6PRESTEREO+6OOOOOOOAUXOO7OO5AUX6AUX+6+6OOO7AUX+6 O56AUXAUXOO4AUXOOOOAUX3GROUPS+6+6OO4AUX+6 O3AUX+6+6+6GROUPS+6+6+6HFHFOLF1AUXAUXOO-15PRE+6 O1AUXAUX+15EQ IN-15-15-15-15LM+15+15-15-15HM+15 -15LFPRE+6+15EQ INLM+15+15HM+15-6-6GAIN10GAINL+R-6MONO RMONO LL+RB18ON-6-3-3GAIN183A ON-3310GAIN-310MONO LMONO RB18ONA183ON10324

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