Allen and Heath GL2800M-24


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Top end monitor mix capability is now accessible to the budget conscious sound provider. The popular GL Series has grown with the addition of the GL2800M, a dedicated monitor console offering an easy to use, innovative tool set for simultaneously mixing large numbers of wedges and in-ears. With the benefits of personal freedom, a tailored mix for each musician and a quiet stage, IEM monitor systems have become increasingly popular with performers and engineer's alike. Although IEM has become a lot more affordable, the console required to run them properly is typically too large, complex or expensive for all but the biggest budgets. Meet the GL2800M… affordable, capable and easy to use - without compromise, exactly right for the job.

16 mixes with stereo capability

Stereo gives the performer a more natural listening environment but can be impractical for many sound providers as it doubles the number of mixes needed, often exceeding the capability of the console available. The GL2800M packs in a massive 16 mixes letting you control up to 8 stereo in-ears or more as combinations of wedges and in-ears. Multiple stereo in-ear mixing presents new challenges to the monitor engineer. You need to balance every source including ambience within the stereo image according to the preference of each performer. The GL2800M provides tamperproof global mono/stereo assignment of its 16 mixes. Each stereo mix has level and pan control as well as stereo AFL signal checking for quick mixing without compromise.

Monitoring wedges and in-ears

Standard console headphones monitoring is simply not enough. The engineer should be able to listen to a wedge mix exactly as the performer hears it. This takes a similar speaker placed next to the console, with similar fader control and output drive. An IEM mix should ideally be listened to using a wired or wireless in-ear system similar to that worn by the performer. Unique at its price point, the GL2800M offers both types of engineer's monitoring with the ability to configure combinations of mixes to either the wedge or IEM monitor as appropriate. You can even configure a 'follow IEM' mode so that the built-in headphones amp can be used as a poor man's IEM monitoring feed. Simply plug your in-ears into the alternative 3.5mm headphones jack provided.

Monitor engineer's tools

We have looked at the many issues unique to the monitor engineer and have crafted a feature set that will make the job a lot easier... the built-in oscillator/pink noise generator for testing and calibrating the system, independent talkback to each performer and FOH, reverse talkback for the house guy to talk directly to the engineer's monitor, swept HPF on each mix to cut unwanted low end and improve amplifier efficiency, mix polarity and EQ to clean up the overall stage sound, dim function to quickly catch problem feedback, PFL automatically override AFL for quick source checking, and a lot more...

Saving hardware & space

With space at the side-of-stage mix position and in the truck transporting equipment between shows at a premium, the small foot print and compact flight case outline of the GL2800M will be appreciated. The 16 mix GL2800M 32 channel frame is less than 1.2m (47") wide, the same physical outline as the 10 aux GL2800, and light enough to be an easy two person lift. With built-in XLR mic splitter you also save the cost, space and handling of another rack of connections. Mix1-8 include 2-band swept frequency output EQ convenient for tailoring the response of in-ears or for feedback control where rack space or equipment budget is tight.


  • 24, 32 and 40 channel frame sizes
  • 16 mixes globally assigned as mono or stereo with level and pan
  • Built-in mic splitter with ground lift switching
  • All masters include polarity switch, swept HPF and 6dB dim function
  • Mix 1-8 include 2 band swept frequency output EQ
  • Engineer’s IEM and wedge monitors with faders, meters, inserts and XLR
  • IEM/wedge monitor external inputs for FOH comms and IEM rack monitoring
  • Mix AFL assignable to either wedge or IEM monitor
  • PAFL logic includes PFL override AFL, mono/stereo AFL, PFL to wedge enable
  • Headphones follow IEM mode, includes ¼” and 3.5mm jacks
  • Talkback with independent selection to all mixes and external output
  • Talk latch mode for use with switched hand held talkback mic
  • Built-in oscillator/ pink noise generator assignable to any mix output
  • Built-in dual supply combiner for additional power supply as a backup
  • 4 mute groups
  • Compact footprint ideal for flight casing and saving space at side of stage
  • Solid, individual card, nutted pot construction in a no nonsense all steel chassis
  • The best of analogue - great sound, reliable and easy to use

    ALLEN GL2800M Specs


  • Maximum XLR input level +34dBu (inc pad)
  • Maximum XLR output level +26dBu
  • Internal headroom Channels +20dB, Mix +22dB
  • Master meters 12 segment -30 to +16dB, 0VU= +4dBu XLR
  • Channel meters 4 segment -12,0,+6+16dB (5dB before clip)
  • Frequency response 20Hz to 50kHz +0/-1dB
  • Mic CMRR at 1kHz > 80dB typical
  • THD+n at +14dBu 1kHz Mic to mix out < 0.003%
  • Crosstalk at 1kHz Fader shutoff >90dB
  • Mute shutoff >88dB
  • Inter channel >90dB
  • Noise, rms 22Hz to 22kHz Mic EIN -128dB
  • Residual output noise < -96dBu (-100dB S/N)
  • Mix noise 24 channels < -80dBu (-84dB S/N)
  • Channel HPF Switched 100Hz, 12dB/octave
  • Output HPF Swept off to 400Hz, 12dB/octave
  • Channel EQ HF Shelving +/-15dB, 12kHz
  • HM Peak/dip +/-15dB, 500Hz to 15kHz, Q=1.8
  • LM Peak/dip +/-15dB, 35Hz to 1kHz, Q=1.8
  • LF Shelving +/-15dB, 80Hz
  • Mix 1-8 EQ HM Peak/dip +/-15dB, 500Hz to 12kHz, Q=1.6
  • LM Peak/dip +/-15dB, 80Hz to 2kHz, Q=1.6
  • Power supply External RPS11 IEC input
  • External Input for optional RPS11 backup supply
  • Connections
  • Channel XLR balanced pin 2 hot Sensitivity -60 to +14dBu
  • Total gain range 74dB
  • 20dB Pad out 2k ohm, in >10k ohm
  • Wedge Ext in XLR balanced pin 2 hot >10k ohm, 0dBu, +20dBu max
  • IEM Ext in TRS unbalanced >10k ohm, 0dBu, +20dBu max
  • Talkback mic XLR balanced pin 2 hot Sensitivity -50 to -10dBu
  • Phantom power Internal jumper +48V (fitted)
  • Inserts Channel TRS, tip send, ring return, 0dBu
  • Output TRS, tip send, ring return, -2dBu
  • Mix 1-16 out XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max
  • IEM/Wedge out XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max
  • Talkback/Osc out XLR balanced pin 2 hot <75 ohm, +4dBu, =26dBu max
  • Headphones TRS, tip L, ring R, 30 to 600 ohm headphones recommended
  • Lamp 4-pin XLR max 12V 5W lamp
  • Mechanical
  • 24 32 40
  • Width 944mm (37.2”) 1171mm (46.1”) 1398mm (55”)
  • Depth 650mm (25.6”)
  • Height 170mm (6.7”)
  • Weight 29kg(63.8lbs) 35kg(77lbs) 41kg(90.2lbs)
    • Model: GL2800M-24
    • Manufactured by: Allen & Heath

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    Most users do not need a license to operate a wireless microphone system. Nevertheless, operating a microphone system without a license is subject to certain restrictions: the system may not cause harmful interference; it must operate at a low power level (not in excess of 50 milliwatts); and it has no protection from interference received from any other device. Purchasers should also be aware that the FCC is currently evaluating use of wireless microphone systems, and these rules are subject to change. For more information, call the FCC at 1-888- CALL-FCC (TTY: 1-888-TELL-FCC) or visit the FCC’s wireless microphone website at