Allen and Heath WZ-3 Owners manual

MixWizard WZ316:2 and WZ312:2

USER GUIDE

Publication AP5331

Limited One Year Warranty

This product is warranted to be free from defects in materials or workmanship for a period of one year from the date of purchase by the original owner.

To ensure a high level of performance and reliability for which this equipment has been designed and manufactured, read this User Guide before operating. In the event of a failure, notify and return the defective unit to ALLEN&HEATH Limited or its authorised agent as soon as possible for repair under warranty subject to the following conditions

Conditions Of Warranty

1. The equipment has been installed and operated in accordance with the instructions in this User Guide

2. The equipment has not been subject to misuse either intended or accidental, neglect, or alteration other than as described in the User Guide or Service Manual, or approved by ALLEN&HEATH.

3. Any necessary adjustment, alteration or repair has been carried out by ALLEN&HEATH or its authorised agent.

4. This warranty does not cover fader wear and tear.

5. The defective unit is to be returned carriage prepaid to ALLEN&HEATH or its authorised agent with proof of purchase.

6. Units returned should be packed to avoid transit damage.

In certain territories the terms may vary. Check with your ALLEN&HEATH agent for any additional warranty which may apply.

This product complies with the European Electromagnetic Compatibility directives 89/336/EEC & 92/31/EEC and the European Low Voltage Directives 73/23/EEC & 93/68/EEC.

This product has been tested to EN55103 Parts 1 & 2 1996 for use in Environments E1, E2, E3, and E4 to demonstrate compliance with the protection requirements in the European EMC directive 89/336/EEC. During some tests the specified performance figures of the product were affected. This is considered permissible and the product has been passed as acceptable for its intended use. Allen & Heath has a strict policy of ensuring all products are tested to the latest safety and EMC standards. Customers requiring more information about 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 users authority to operate it.

WZ316:2 and 12:2 User Guide AP5331 Issue 3

ALLEN&HEATH Limited

Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK http://www.allen-heath.com

2 WZ316:2 and 12:2 User Guide

Important Safety Instructions

WARNINGS

- Read the following before proceeding :

CAUTION

ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR

Read instructions: Retain these safety and operating instructions for future reference. Adhere

to all warnings printed here and on the console. Follow the operating instructions printed in this User Guide.

Do not remove cover: Operate the console with its covers correctly fitted. Disconnect mains

power by unplugging the power cord if the cover needs to be removed for setting internal options. Refer this work to competent technical personnel only.

Power sources: Connect the console to a mains power unit only of the type described in

this User Guide and marked on the rear panel. Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the console. If the provided plug does not fit into your outlet consult your service agent for assistance.

Power cord routing: Route the power cord so that it is not likely to be walked on, stretched or

pinched by items placed upon or against it.

Grounding: 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: To reduce the risk of fire or electric shock do not expose the console to

rain or moisture or use it in damp or wet conditions. Do not place containers of liquids on it which might spill into any openings.

Ventilation: Do not obstruct the ventilation slots or position the console where the air

flow required for ventilation is impeded. If the console is to be operated in a rack unit or flightcase ensure that it is constructed to allow adequate ventilation.

Heat and vibration: Do not locate the console in a place subject to excessive heat or direct

sunlight as this could be a fire hazard. Locate the console away from any equipment which produces heat or causes excessive vibration.

Servicing: Switch off the equipment and unplug the power cord immediately if it is

exposed to moisture, spilled liquid, objects fallen into the openings, the power cord or plug become damaged, during lightening storms, or if smoke, odour or noise is noticed. Refer servicing to qualified technical personnel only.

Installation: Install the console in accordance with the instructions printed in this User

Guide. Do not connect the output of power amplifiers directly to the console. Use audio connectors and plugs only for their intended purpose.

WZ316:2 and 12:2 User Guide 3



Important Mains plug wiring instructions.

The console is supplied with a moulded mains plug fitted to the AC mains power lead. Follow the instructions below if the mains plug has to be replaced. The wires in the mains lead are coloured in accordance with the following code:

TERMINAL

L

LIVE BROWN BLACK

N

NEUTRAL BLUE WHITE

E

EARTH GND GREEN & YELLOW GREEN

The wire which is coloured Green and Yellow must be connected to the terminal 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 plug which is marked with the letter N.

The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L.

Ensure that these colour codes are followed carefully in the event of the plug being changed.

General Precautions

WIRE COLOUR

European USA/Canada

Damage : To prevent damage to the controls and cosmetics avoid placing heavy

objects on the control surface, scratching the surface with sharp objects, or rough handling and vibration.

Environment : Protect from excessive dirt, dust, heat and vibration when operating and

storing. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain and moisture. If the console becomes wet, switch off and remove mains power immediately. Allow to dry out thoroughly before using again.

Cleaning : Avoid the use of chemicals, abrasives or solvents. The control panel is

best cleaned with a soft brush and dry lint-free cloth. The faders, switches and potentiometers are lubricated for life. The use of electrical lubricants on these parts is not recommended. The fader and potentiometer knobs may be removed for cleaning with a warm soapy solution. Rinse and allow to dry fully before refitting them.

Transporting : The console may be transported as a free-standing unit or mounted in a

rack or flightcase. Protect the controls from damage during transit. Use adequate packing if you need to ship the unit.

Hearing : To avoid damage to your hearing do not operate any sound system at

excessively high volume. This also applies to any close-to-ear monitoring such as headphones. Continued exposure to high volume sound can



cause frequency selective or wide range hearing loss.

4 WZ316:2 and 12:2 User Guide

Introduction

Welcome to the Allen & Heath WZ compact audio mixing consoles. We have tried to keep this user guide brief and to the point. Please read it fully before starting. Included is information on installing, connecting and operating the console, panel drawings, system block diagram and technical specification. For further information on the basic principles of audio system engineering, please refer to one of the specialist publications and resources available from bookshops, audio equipment dealers and the Internet.

Whilst we believe the information in this guide to be reliable we do not assume responsibility for inaccuracies. We also reserve the right to make changes in the interest of further product development.

We are able to offer further product support through our world-wide network of approved dealers and service agents. You can also access our Web site on the Internet for information on our full product range, our company pedigree, assistance with your technical queries, our contact details or simply to chat about matters audio. To help us provide the most efficient service please keep a record of your console serial number, and date and place of purchase to be quoted in any communication regarding this product.

3

, the latest generation of the popular MixWizard series of

www.allen-heath.com

Contents

Warranty ................................................ 2

General Precautions.............................. 4

Introduction to this Guide...................... 5

Front Panel Layout ................................ 6

Introducing the MixWizard .................... 7

Installing the Console............................ 8

Connecting Power................................. 9

Connecting a Backup Supply ...............9

Connection Pinouts and Cables .........10

Audio Connections.............................. 11

Connector Panel Layouts.................... 12

Mono Input Channel ............................15

Stereo Input Channel........................... 17

Stereo Effects Processor .....................18

Stereo Effects Return Channel ............19

MIDI......................................................20

Master Section..................................... 21

Gain Structure...................................... 23

Specifications ......................................24

System Block Diagrams ...................... 26

Effects Parameters ..............................28

User Options........................................30

Console Connectors ........................... 13

Cue Sheets ..........................................33

WZ316:2 and 12:2 User Guide 5

GAIN

HF

HM

LM

LF

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

PAN

PK!

- 10 10

700

45

0

20

-15

1k

500Hz

-15

70

35Hz

-15

PRE

OO +6

OO

POST

L R

LAMP

0

-5

GAIN

ON

9-10

HF

HM

LM

LF

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

BAL

PK!

-10

-20

-10

-20

O

(ST1+ST2)TO

-5

O

-15

PRE

OO +6

OO

POST

L R

5

10

16

LRTO

0

5

10

16

+15

POST PRE

+6

=

MUTE

PFL

+48V

PAD

(LINE)

30

40

50

60 40

HPF

GAIN

- 10 10

+48V

PAD

(LINE)

0

30

40

20

50

60 40

HPF

HF

+15

3k

4k

6k

15k

+15

180

250

400

1k

+15

POST PRE

+6

=

MUTE

PFL

HM

LM

LF

AUX

PAN

700

1

2

3

4

5

6

PK!

-15

1k

500Hz

-15

70

45

35Hz

-15

PRE

POST

3k

180

OO +6

OO

=

L R

PFL

+15

15k

+15

MUTE

4k

6k

250

400

1k

POST PRE

+6

0

-5

GAIN

5

-10 10

-20

O

16

ON

TO LR

TO

(ST3+ST4)

11-12

0

-5 5

GAIN

-10 10

-20

O

16

ON

HF

+15

-15

HM

+15

-15

LM

+15

-15

LF

+15

-15

PRE

AUX

1

+6OO

AUX

2

+6OO

AUX

3

+6OO

AUX

4

+6OO

POST PRE

AUX

5

+6OO

AUX

6

+6

OO

POST

=

BAL

RL

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

MUTE

PK!

PFL

FACTORY PRESETS

SINGLE

STAGE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

KARAOKE

PING PONG

CHORUS

SLAP+REV

DLY+REV

ECHO+REV

CH+REV

PH+REV

DUAL

STAGE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

STAGE

ROOM

HALL

SLAP DLY

DELAY

ECHO

CHORUS

PHASER

ST5 / FX

AUX

1

AUX

2

AUX

3

AUX

4

OO

2

3

5

6

816

/ FX

ST5

LEV

PRE

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

AUX5 = 1-8 AUX6 = 9-16

AUX5 = 1-16

+6OO

BANK

SEL

+6OO

MUTE

+4OO

SINGLE FX DUAL FX

PHONES

ST6

LEV

OO

9+61

10

11

124

13

14

157

0

TO LR

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

R

L

PFL

PHONES

10

0

AUX 1

1-2

AUX 2

AUX 3

3-4

AUX 4

AUX 5

5-6

AUX 6

ST5

/ FX

ST6

M

ALL UP = LR

ALT LR OUT MONITOR

AB

0

+10

OO

L+R AUX 6

RL

M

SIG

10

5

0

5

10

20

30

OO

SIG

10

5

0

5

10

20

30

OO

SIG

10

5

0

5

10

20

30

OO

SIG

10

5

0

5

10

20

30

OO

10

5

0

5

10

20

30

OO

10

5

0

5

10

20

30

OO

AUX6

6 WZ316:2 and 12:2 User Guide

Introducing the MixWizard

The Allen & Heath MixWizard series of consoles includes several models. This user guide describes the WZ

3

16:2 and WZ312:2 stereo models. The 4 group WZ314:4:2 and stereo

input WZ20S consoles are described in separate publications. For further information on the MixWizard series please refer to the Allen & Heath web site.

The MixWizard is a compact console designed for professional live sound mixing. It is built to the same high standards as our top of the range consoles, with individual circuit cards, potentiometers nutted to the panel for absolute strength, steel chassis, and no compromise circuit design ensuring the finest sonic performance.

The console can be operated free standing or in a 19” rack or flightcase. It is supplied with protective side trims fitted. These can be removed for rack mounting. The rear connector pod can be easily rotated for rear facing or underside connectors when rack mounted.

Both models feature a 4 band semi-parametric EQ and high pass filter per mic/line channel, 6 aux sends with combinations of pre/post switching, 100mm faders, a built-in dual effects processor with parameter control using Allen & Heath PC software, dedicated mono output with separate fader and innovative operating mode for aux fed sub systems, additional AB stereo output, comprehensive metering and engineers monitoring, dual redundant backup supply input, and a lamp socket.

The WZ stereo return inputs, a total of 20 input connections. The WZ

3

16:2 provides 16 mono mic/line inputs and 2

3

12:2 provides 10 mono mic/line inputs, 2 full

channel dual stereo inputs, and 2 stereo return inputs, a total of 22 input connections.

The base of the console can be removed to access a host of internal option jumpers. These set user preference for the aux, direct output and AB sources.

The aux outputs are impedance balanced but may be electronically balanced if required by fitting an optional part. A kit is also available to fit the optional Sys-Link II output card which allows the console to be linked to other Allen & Heath consoles.

Software for editing the effects parameters using a PC computer can be downloaded free from the Allen & Heath web site.

Other accessories available include the Allen & Heath MPS12 backup power supply and LEDlamp gooseneck lamp with built-in dimmer.

WZ316:2 and 12:2 User Guide 7

Installing the Console

Free Standing

The console is supplied ready for free standing operation with its side trims fitted and connector pod positioned for rear access. If you are converting from rack to free standing then make sure the pod is correctly rotated and secured, and the side trims fitted as shown below:

5

194

RELEASE M4 POZI SCREW EACH SIDE

ROTATE POD AND REFIT SECURING SCREWS

19” Rack Mount

FIT SIDE TRIMS - 4x M4 POZI SCREWS PER SIDE

514

530

CONSOLE WIDTH = 507mm

1

2

58

For rack mounting, remove the two side trims and rotate the pod into the connector position preferred. Allow enough space for the cables and connectors behind the console.

193

122

193

101.6165.1101.637.7

497

(11.2U)

444

(10U)

SECURE IN RACK USING 8x M6 BOLTS USE PLASTIC CUP WASHERS TO PROTECT THE PANEL

482.6 (19" RACK)

Do not transport the console with its connector pod securing screws removed. Do not attempt to remove the connector pod from the console. Do not obstruct the ventilation slots. Allow adequate space around the console for air flow.

8 WZ316:2 and 12:2 User Guide

Connecting Power

EXTERNAL DC IN

RECOMMENDED ALLEN&HEATH POWER SUPPLY REFER TO USER GUIDE FOR DET AILS

Read and understand the Important Safety Instructions printed at the start of this guide, and the warnings printed on the rear of the console. Check that your local mains supply is within the 100-240V operating voltage range allowed. Check that the correct mains lead with moulded plug has been supplied with your console. Make sure that the IEC mains plug is pressed fully into the panel socket before switching on.

Grounding

The connection to ground in an audio system is important for two reasons:

1. SAFETY - To protect the operator from high voltage electric shock, and

2. AUDIO PERFORMANCE - To minimise the effect of ground (earth) loops which result in audible hum and buzz, and to shield the audio signals from interference.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIREREPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERIS TIQUES.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK

Serial No.

T630mA L 250V 20mm

FUSE

AC MAINS IN ~

100 - 240V~ 47-63Hz 45W MAX

WARNING: THIS APPARATUS MUST BE EARTHED

ON

OFF

0

I

For safety it is important that all equipment grounds are connected to mains ground so that exposed metal parts are prevented from carrying high voltage which can injure or even kill the operator. Do not disconnect the ground connection in the mains lead. It is recommended that the system engineer check the continuity of the safety ground from all points in the system including microphone bodies, turntable chassis, equipment cases, rack metalwork and so on.

Switching the console on and off

It is good practice to turn power amplifiers off before switching the console and any other connected equipment on or off. This prevents any unexpected clicks or thumps when the equipment is powered up.

Turn amplifiers and powered speakers on last and off first.

To turn the console on, press the ON/OFF switch next to the IEC mains input socket. To turn the console off, press this switch again.

Connecting a backup supply

A socket is included for plugging in an optional backup power supply. This provides the reassurance of power supply dual redundancy, a feature usually found only in expensive top end consoles. The console uses diode combining technology so that both supplies can be powered at the same time. One will automatically take over should the other stop working. The recommended backup supply for the MixWizard is the Allen & Heath MPS12 power unit. Refer to the user guide which comes with this supply.

Only plug the recommended Allen & Heath power unit into this socket. Do not attempt to modify any other power unit to work with the console. Do not attempt to modify or extend the DC power cable that comes with the supply.

The console can work with just the internal supply powered by mains, or just the backup supply, or with both powered at the same time. To ensure uninterrupted performance in the unlikely event of a failure, we recommended that both supplies are powered.

WZ316:2 and 12:2 User Guide 9

13 GRP 4+

12 AUX 1+

11 AUX 2+

10 AUX 3+

9 AUX 4+

8 AUX 5+

7 AUX 6+

6 PFL+

5 AFL+

4 nc

3 PFL DC

2 AFL DC

14 GRP 3+

15 GRP 2+

16 GRP 1+

17 R+

18 L+

19 0V (CHS)

L- 37

R- 36

AUX 1- 31

GRP 4- 32

AUX 2- 30

GRP 3- 33

GRP 2- 34

GRP 1- 35

PFL- 25

AFL- 24

AUX 4- 28

AUX 5- 27

AUX 3- 29

AUX 6- 26

1 0V (PAFL)

nc 21

nc 23

nc 20

nc 22

10 WZ316:2 and 12:2 User Guide

Audio Connections

The MixWizard uses professional grade 3 pin XLR and 1/4" TRS (3 pole) jack sockets. To ensure best performance, we recommend that you use high quality audio cables and connectors, and take time to check for reliable and accurate cable assembly. It is well known that most audio system problems are due to faulty or sub standard interconnecting leads. The following mating plugs may be used to connect audio signals to the console:

Avoid reversing + and - on balanced connections as this will result in reversed polarity (out of phase) signals which may cause signal cancellation effects.

Where long cables runs are required, balanced interconnections should be used. However, line level interconnections between more affordable 2-wire (signal, ground) unbalanced equipment and the console are unlikely to cause problems if the cables are kept shorter than 10 meters or so. Refer to the wiring diagrams on the opposite page.

Dealing with Ground Loops, Buzz and Interference

For optimum performance all audio signals should be referenced to a solid, noise-free ground (earth) point, frequently referred to as the ‘star point’ or ‘clean earth’.

A ground loop is created when potential differences exist between grounds at different points in the system, and the signal has more than one path to ground. In most cases ground loops do not result in audible problems. Should you experience hum or buzz caused by a ground loop, check first that each piece of equipment has its own separate path to ground. If so, operate ground lift switches on connected equipment in accordance with the instruction manuals. Alternatively disconnect the cable screen at the destination end only. This breaks the offending loop while keeping the signal shielding down the length of cable.

WARNING For operator safety do not remove the ground (earth) connection

in the power lead of the console or connected equipment.

To avoid interference pickup keep audio cables away from mains power units and cables, thyristor dimmer units, computer equipment and mobile phones. Where this cannot be avoided, cross the cables at right angles to minimise interference

A note about balanced connections

A differentially balanced connection has two signal wires, signal + (hot) and signal - (cold) and a shield. The signal source generates positive going polarity down the + wire and negative polarity down the – wire. The destination input stage accepts the + signal on its non-inverting (+) input pin, but it inverts the – signal, adding it to the + signal. The result is that the wanted signal is boosted. Now examine what happens when unwanted interference (hum and noise) is induced into the cable. The noise is induced equally and with the same polarity into both wires. At the destination input the – wire signal gets inverted and added to the + signal. Because the polarity is the same on both input wires the noise cancels itself out at this input. For this interference rejection to work it is important that the source, the cable and the destination input are all balanced. Balancing provides greatest advantage with low level signals such as those produced by microphones.

An impedance balanced drive on the - wire. It does not generate a negative polarity signal at its – output. Instead, the – wire has no signal but is held at the same impedance as the + wire. This means that both wires pick up the noise equally resulting in cancellation as described above.

output provides similar interference rejection, but without the signal

WZ316:2 and 12:2 User Guide 11

ALLEN&HEATH

INSERT 16

LINE IN

16

MIC

INSERT 15

LINE IN

15

MIC

L

INSERT

R

L

3

INSERT

LINE IN

MixWizard WZ

INSERT

13 12

14

LINE IN

14

13

12

MIC

INSERT 11

LINE IN

11

MIC

INSERT

LINE IN

10

MIC

9

INSERT

10

LINE IN

9

MIC

INSERT 8

LINE IN

8

MIC

16:2

INSERT

7

INSERT

LINE IN

76

MIC

INSERT 5

LINE IN

INSERT 4

LINE IN

5

4

MIC

6

INSERT 3

LINE IN

3

MIC

INSERT

LINE IN

INSERT 1

2

LINE IN

2

1

MIC

R

M

A

OUT

B

EXTERNAL

AUX5

INTERNAL

AUX6

DIRECT

INSERT R INSERT L

FX

L/M

ST5

R

SINGLE

EFFECT

1-16

DUAL

OUT

AB ST2

A

B

SYS-LINK OUT ( option )

+

-

EFFECT

1-8

EFFECT

9-16

SYS-LINK OUT ( option )

DIRECT

OUT

IN

L

/MONO

R

LRM

MIX

L R

DIRECT

FX MUTE

FX EDIT

OUT

EXTERNAL

AUX5

INTERNAL

AUX6

FOOTSWITCH

MIDI IN

DIRECT

OUT

DIRECT

OUT

46ST1 IN AUX 5AUX AUX AUXAUX 3 AUX2 SEND1

FX

+

L/M

-

ST1

+

R

-

SINGLE

EFFECT

1-16

EFFECT

1-8

DUAL

EFFECT

9-16

EXT FX

ST5

IN

L

/MONO

FX

R

IN

ST6

L

/MONO

R

EXTERNAL DC IN

BACKUP SUPPLY

MIX

L R

ONLY USE RECOMMENDED ALLEN&HEATH POWER SUPPLY. REFER TO USER GUIDE FOR DETAILS.

9-1011-12

ST1

ST3

IN

L

/MONO

R

ST4

L

/MONO

R

IN

L

/MONO

R

IN

ST2

L

/MONO

R

1 SEND2 AUX3AUX AUXAUXAUX 5AUX 64

EXTERNAL DC IN

ONLY USE RECOMMENDED ALLEN&HEATH POWER SUPPLY

REFER TO USER GUIDE FOR DETAILS

DIRECT

MixWizard WZ312:2ALLEN&HEATH

LINE IN

DIRECT

OUT

910111213141516

INSERT

LINE IN

DIRECT

7

MIC

OUT

7

8INSERT

8

MIC

OUT

8

DIRECT

OUT

FOOTSWITCH MIDI IN

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPL ACE FUSE WITH SAME TYPE AND RATING. ATTENTI ON: REMPL ACER LE F USIBLE AVE C UN DES MEMES CARACTERISTIQUES.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

6INSERT

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

LINE IN

MIC

DIRECT

5

OUT

LINE IN

6

MIC

DIRECT

OUT

6

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPL ACE FUSE WITH SAME TYPE AND RATING. ATTENTI ON: REMPL ACER LE F USIBLE AVE C UN DES MEMES CARACTERISTIQUES.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

DIRECT

OUT

LINE IN

DIRECT

XLR OUT

1 2

3

- OUT

4INSERT

4

MIC

OUT

4

XLR OUT

1

3

- OUT

FX EDITFX MUTE

DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK

Serial No.

5INSERT

5

DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK

Serial No.

DIRECT

OUT

LINE IN/OUT

TIP +

+OUT

RING -

FUSE

T630mA L 250V 20mm

WARNING: THIS APPARATUS MUST BE EARTHED

INSERT

3

LINE IN

3

MIC

DIRECT

OUT

3

LINE IN/OUT

TIP +

2

+OUT

RING -

FUSE

T630mA L 250V 20mm

WARNING: THIS APPARATUS MUST BE EARTHED

OUT

INSERT

SEND

RETURN

AC MAINS IN ~

100 - 240V~ 47-63Hz 45W MAX

INSERT

LINE IN

2

MIC

DIRECT

OUT

2

INSERT

SEND

RETURN

AC MAINS IN ~

100 - 240V~ 47-63Hz 45W MAX

DIRECT

OUT

12345678

INPUT

+IN

1

2

TIP

RING

2

TIP

RING

TIPTIP +IN RINGRING -IN

TIP +INTIP RING -INRING

INPUT

3

LINE IN

DIRECT

1

3

MIC

- IN

LINE

ONI0OFF

1INSERT

1

MIC

OUT

1

+IN

MIC

- IN

LINE

ONI0OFF

12 WZ316:2 and 12:2 User Guide

The Console Connectors

INPUT

+IN

TIP +INTIP

RING -INRING

1

3

- IN

MIC

LINE

2

MIC / LINE IN The channel PAD (LINE) switch selects either the MIC

XLR or the LINE TRS jack as the input source. The XLR is normalled through the TRS jack. This means that the XLR can be used for microphone or line level signals when nothing is plugged into the jack socket. Both inputs are balanced but can be wired to work with unbalanced signals when required.

WARNING: Do not connect unbalanced sources or cables to

the XLR input when 48V phantom power is selected. To avoid loud clicks always turn the channel off by pressing MUTE when switching +48V on or off, and when plugging or unplugging cables.

STEREO LINE IN The WZ

channel inputs ST1,3 (unbalanced) and ST2,4 (balanced), and an additional two stereo returns ST5 (balanced) and ST6 (unbalanced). The WZ316:2 has two stereo return inputs ST1 (balanced) and ST2 (unbalanced). All inputs use TRS jacks. Unbalanced inputs automatically connect the TRS ring to ground for working with balanced sources. The L input is normalled through the R input to accept mono signals.

MIX

L R

with the internal effects processor return. This means that an external effects device fed from a different aux mix can mix with the internal processor to save input channels. Alternatively, you could turn the internal unit off and use the ST5 (ST1) input with an external unit only if preferred.

EFFECT

1-8

EFFECT

9-16

+

-

+

-

EXTERNAL

AUX5

INTERNAL

AUX6

L/M

ST5

R

SINGLE

EFFECT

Note that the ST5 (WZ

1-16

DUAL

3

12:2 has six stereo inputs comprising four

3

12:2) or ST1 (WZ316:2) stereo return input mixes

INSERT A single 3-pole TRS jack carries the unbalanced insert signal.

INSERT

SEND

RETURN

TIP

RING

Tip = send, Ring = return, Sleeve = common ground. The channel insert is post-HPF, pre-EQ and operates at 0dBu. The LR mix insert is pre-fader and operates at -2dBu. These should work fine with line level signal processing equipment such as compressors, outboard EQ, delay units and so on. An example of a suitable cable is shown here:

DIRECT OUTPUT The mic/line channel direct output is available on

an impedance balanced TRS jack. It is a line level signal operating at 0dBu. The source is set using an internal option jumper for each channel. The factory default setting is pre-fade (following the pre/post-EQ setting). This may be changed to post-fade if preferred.

The direct outputs provide a useful source for multitrack recording. Many

users prefer pre-fade sends for this application so that the live show fader movements do not affect the recording which can be mixed later. Another application is channel effects sends. For example, a reverb unit may be dedicated to work with the lead vocalist channel only. Using a post-fade direct output instead of an aux send frees up that aux mix for other purposes.

WZ316:2 and 12:2 User Guide 13

L, R, M OUT The main console mix outputs are on balanced XLR.

These produce +4dBu when the meters read ‘0’. The M output can be switched to provide a mono sum of the post-fade L and R signals, or the AUX6 output.

The L and R outputs typically feed the house PA system in live sound

mixing, or a 2-track recorder in studio mixing. In mono mode, the M output can provide an additional feed for a mono fill speaker or zone, or be used as the main feed into a mono PA. Used with a mono PA the L and R mix can provide a pair of subgroups, each with routing using the channel PAN controls, inserts and faders. Configured to provide the AUX6 mix, the M output is ideal for driving a sub bass speaker system when working with an ‘aux fed subs’ PA. This provides the sub feed with its own per-channel mix on balanced XLR and with dedicated fader alongside the main LR faders for proper control of the house volume.

AB OUT A pair of impedance balanced TRS jacks can be configured to

provide an additional LR mix or engineers monitor send. These operate at

-2dBu line level. A front panel recessed ‘mode’ switch determines the source to the AB output. This may be set to follow the console monitor system and therefore feed an independent local stereo monitor or even engineers wedge speaker. When set to follow the LR mix, the factory default source is taken post LR fader. An internal option jumper is available to change this to pre LR fader.

The unique AB output feature provides the MixWizard with a host of

possibilities… independent 2-track recording feed, broadcast feed, zone and delay fill feeds, local monitor, engineers wedge monitor and more.

AUX OUT 1-6 Each aux send is available on an impedance balanced

TRS jack operating at -2dBu line level. An internal option is available to fit a balanced line driver IC to provide an electronically balanced output operating at +4dBu. Note that it is not usual to require this option as the impedance balanced standard drive provides significant interference rejection when feeding balanced equipment inputs.

The aux sends are typically used to feed stage monitors, effects devices

such as reverb and delay, and for special mix requirements.

MIDI IN A standard 5-pin DIN MIDI input socket is provided. This is

used with external MIDI equipment or a MIDI equipped PC to control the built-in effects processor mute, presets and parameters. Free software can be downloaded from the Allen & Heath web site for PC editing of the parameters via MIDI.

FOOTSWITCH Mutes and unmutes the ST5 (ST1) effects return

channel, ideal for bypassing the effects between songs. Note that this affects the internal processor and also any external effects device that may be plugged in to these return inputs. Use a momentary or latching footswitch as required. Shorting a TS or TRS jack tip to sleeve turns the mute on.

SYS-LINK II OPTION A blank plate is fitted here as standard. The

Sys-Link II option kit is available from Allen & Heath. Refer to OPTIONS later in this guide.

14 WZ316:2 and 12:2 User Guide

The MONO Input Channel

GAIN

HM

LM

PAN

HF

LF

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

PK!

SIG

- 10 10

700

45

10

0

20

-15

1k

500Hz

-15

70

35Hz

-15

PRE

OO +6

OO

POST

L R

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

30

40

50

60 40

HPF

+15

3k

4k

6k

15k

microphones or DI boxes that need phantom power. The power is current limited through 6k8 ohm resistors to pins 2 and 3.

WARNING: Do not connect unbalanced sources or cables

to inputs with phantom power selected. To avoid loud clicks always mute the channel before switching +48V on or off and when plugging or unplugging microphones.

PAD (LINE) Press this switch to select the channel TRS jack LINE

+48V Switches +48VDC to the channel input XLR for powering

+15

180

250

400

1k

input. Release the switch to select the XLR MIC normals through the TRS socket. With nothing plugged into the line input the switch therefore becomes a PAD for the mic XLR. It attenuates the input signal by 20dB for connection to high level

+15

microphone or line sources.

GAIN Adjusts the input sensitivity to match the connected source to

the internal 0dBu operating level of the channel. Provides a variable 50dB range from +10 to +60dB gain (mic), or -10 to +40dB (line, pad selected). The gain should be set using PFL so that the console meters average ‘0’ with loudest moments lighting ‘+6’. Reduce gain if the red peak indicator lights.

input. The XLR

HPF Switches in the channel high pass filter. This attenuates

frequencies below 80Hz by 12dB per octave. The filter is pre-insert, pre-EQ. Select the HPF to reduce low frequency noise such as

POST PRE

microphone popping, stage noise and tape transport rumble.

EQ A 4-band semi parametric EQ provides independent control of

four frequency bands. HF and LF are shelving filters which affect high frequencies above 12kHz, and low frequencies below 80Hz

+6

=

MUTE

PFL

respectively. HM and LM are bell shaped peak/dip filters which affect frequencies around a centre point which can be swept from 500Hz to 15kHz and 35Hz to 1kHz respectively. These have a width (Q) of 1.8. All bands can be boosted or cut by up to 15dB and have a centre detent 0dB position.

Check for the best microphone selection and placement before using the EQ. Start with the EQ set flat and apply only as much boost or cut as is really needed. When dealing with problem frequencies cut rather than boost where possible.

+20

+15

+10

+5

0dB

-5

-10

-15

-20 20 50 100 200 500 1k 2k 5k 10k 20k

+5

0dB

-5

-10

-15

-20

-25

-30

-35

-40

+20

+15

+10

+5

0dB

-5

-10

-15

-20 20 50 100 200 500 1k 2k 5k 10k 20k

+20

+15

+10

+5

0dB

-5

-10

-15

-20

10k5k2k1k500200100502010

20k10k5k2k1k5002001005020

WZ316:2 and 12:2 User Guide 15

GAIN

HM

LM

PAN

HF

LF

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

PK!

SIG

- 10 10

700

45

10

0

20

-15

1k

500Hz

-15

70

35Hz

-15

PRE

OO +6

OO

POST

L R

5

0

5

10

AUX SENDS These rotary controls adjust how much channel

signal is mixed to the aux outputs. Each of the 6 auxes has its own

+48V

PAD

(LINE)

30

40

50

60 40

HPF

control. They adjusts from fully off to +6dB boost. Unity gain 0dB is marked at 3 o’clock position. Factory default settings should satisfy the most common applications:

AUX1, AUX2 = Pre-fade AUX3, AUX4 = Switched pre/post using PRE swittch AUX5, AUX6 = Post-fade

Pre-fade aux = Pre-INSERT, pre-EQ, post-MUTE

+15

3k

4k

6k

15k

These settings may be changed if preferred by repositioning internal jumper link options. They offer many different combinations of pre and post-fade sends, and a post-EQ option for the pre-fade sends. The

+15

180

250

400

1k

PRE switch can be assigned to one, two or more of the sends. More detail is provided in OPTIONS later in this guide.

Pre-fade aux sends are not affected by the channel fader movements. These are typically used to feed stage monitors. In most cases users

+15

also prefer that the monitor sends are not affected by inserted processors or the channel EQ. Post-fade aux sends follow the channel

+15

faders and are typically used to send a proportion of the channel signal to an effects device such as reverb or delay. Pre or post-fade sends may also be used for special applications such as recording, zone feeds, clean feeds and aux fed subs.

PRE When pressed the pre-fade channel signal is sent to the

associated auxes. When released the post-fade signal is sent. Auxes 3 and 4 are affected by the PRE switch (factory default). You can change this by repositioning the internal option jumpers.

POST PRE

PAN Positions the channel signal between L and R in the stereo

mix. The centre position (mono image) is detented for quick resetting.

MUTE When pressed the channel signal is turned off. This affects

the feed to the LR mix, pre and post-fade aux sends and direct output,

+6

=

but does not affect the insert send. The red indicator lights when the channel is muted.

PFL Press PFL to listen to the pre-fade channel signal in the

MUTE

PFL

headphones or AB monitor (if configured) without affecting the main outputs. The console main LR meters are interrupted with the channel signal. The red PK indicator half lights to show that PFL has been selected on that channel. Selecting more than one PFL at the same time mixes those signals together in the monitor.

PEAK The red indicator illuminates when the channel pre-fade

signal is within 5dB of clipping. This gives you enough warning to reduce the GAIN control before you hear signal distortion.

SIGNAL The green signal presence indicator lights when the

channel pre-fade signal is greater than -12dBu.

20

FADER Controls the channel level feeding the main LR mix and

post-fade aux sends. It also affects the direct output if this has been set to post-fade using the internal option jumpers. The fader provides

30

OO

+10dB maximum boost above its normal unity gain 0dB position.

Important note on setting channel levels: Use PFL to set the GAIN controls for correct signal level through each channel. Use the faders to balance each signal in the mix. These are typically operated around their -20 to 0 positions according to the mix. We do not

recommend

setting the faders to ‘0’ and mixing using the GAIN controls.

16 WZ316:2 and 12:2 User Guide

The STEREO Input Channel ( WZ

3

12:2 only)

0

-5 5

GAIN

-10 10

-20

O

16

ON

TO

LR

TO

(ST3+ST4)

11-12

0

-5 5

GAIN

-10 10

-20

O

16

ON

HF

+15

-15

HM

+15

-15

LM

+15

-15

LF

+15

-15

PRE

AUX

1

+6OO

AUX

2

+6OO

AUX

3

+6OO

AUX

4

+6OO

POST PRE

AUX

5

+6OO

AUX

6

+6

OO

POST

=

BAL

Dual stereo inputs Each of the two stereo channels has two

stereo inputs which can be used separately, mixed together or split so that one feeds the channel, the other routes direct to LR. For example, you could mix two sound effects playback devices or two reverb returns together into one channel. This can be useful in saving channels, letting you mix many inputs in a small space. The L input signal normals through the R input socket so that a mono source may be plugged in to feed both left and right sides of the stereo channel.

ST1, ST3 Unbalanced TRS inputs. The GAIN control adjusts from

fully off to +16dB gain. Press the ST1 (ST3) switch to turn the input on.

Routing mode switch Recessed switch to prevent accidental

operation. In the normal up position the ST1 (ST3) signal mixes with ST2 (ST4) into the stereo channel. When pressed the signal is routed direct to the LR mix instead of the channel. This lets you use these inputs as simple stereo returns in addition to the full stereo channels, providing four independent stereo sources to the LR mix.

ST2, ST4 Balanced TRS inputs. The GAIN control adjusts from

fully off to +16dB gain. Press the ST2 (ST4) switch to turn the input on. These inputs always feed the stereo channels.

EQ A 4-band fixed frequency EQ provides independent control of

four frequency bands. HF and LF are shelving filters which affect high frequencies above 12kHz, and low frequencies below 80Hz respectively. HM and LM are bell shaped peak/dip filters which affect frequencies centred around 2.5kHz and 250Hz respectively. These have a width (Q) of 1.8. All bands can be boosted or cut by up to 15dB and have a centre detented 0dB position.

AUX SENDS These work as described for the mono channel. The

L and R sides of the stereo signal sum together to feed each aux in mono. This can be changed using an internal jumper option so that L feeds auxes 1,3 and R feeds auxes 2,4.

RL

MUTE

PK!

PFL

SIG

10

5

BAL Balances the level of the L signal against the R signal to

compensate for differences in the source signal, or to position the signal within the stereo image. The centre equal level position is detented for quick resetting.

MUTE When pressed the channel signal is turned off. This affects

the feed to the LR mix, and pre and post-fade aux sends. The red

0

5

10

indicator lights when the channel is muted.

PFL Press PFL to listen to the summed L+R pre-fade channel signal

in the headphones or AB monitor (if configured) without affecting the main outputs. The console main LR meters are interrupted with the

20

channel signal. The red PK indicator half lights to show that PFL has been selected on that channel.

30

OO

PEAK The red indicator illuminates when the channel pre-fade

signal is within 5dB of clipping. This gives you enough warning to reduce the GAIN control before you hear signal distortion.

SIGNAL The green signal presence indicator lights when the

channel pre-fade signal is greater than -12dBu.

WZ316:2 and 12:2 User Guide 17

The STEREO Effects Processor

The MixWizard WZ316:2 and WZ312:2 features a built-in stereo digital effects processor. This can be configured to work as a single effects engine fed from AUX5, or in dual mode as two effects engines independently fed from AUX5 and AUX6. The processed signal is routed back to the mix through the ST1 (ST5) stereo return channel. In dual mode the two stereo effects mix together into the return channel.

The ST1 (ST5) TRS jack inputs mix with the internal effects processor through the return channel. This allows you to have the internal and external effects devices returning their processed signals through one return channel. In dual mode this gives you three stereo signals mixing into one.

SINGLE FX mode With the recessed mode switch in its up position, AUX5 is used to

send the channel post-fade signals to the internal effects processor. One bank of 16 effects presets is available.

PRESET 1-8 PRESET 9-16

# NAME EFFECT # NAME EFFECT

1 Stage 9 Karaoke

2 Room 10 Ping Pong

3 Hall

4 Plate

5 Chamber 13 Dly + Rev

6 Cathedral 14 Echo + Rev

7 Arena

8 Gated Rev

Short Reverbs of

increasing length and

differing brightness

Studio plate reverb

Long reverbs for special

effects and simulation of

large spaces

Typical for snare drums

11 Chorus

12 Slap + Rev

15 Ch + Rev

16 Ph + Rev

Stereo vocal echo effect

L-R repeat effect

Stereo chorus effect

Slap delay with hall reverb

Delay with hall reverb

Echo with plate reverb

Chorus with arena reverb

Phaser effect+plate reverb

DUAL FX mode With the recessed mode switch pressed, AUX5 and AUX6 are used to

send the channel post-fade signals to two independent internal effects processors. Each has its own bank of 8 presets, AUX5 = 1-8, AUX6 = 9-16.

PRESET 1-8 (AUX5) PRESET 9-16 (AUX6)

# NAME EFFECT # NAME EFFECT

1 Stage 9 Stage

2 Room 10 Room

3 Hall 11 Hall

4 Plate 12 Slap Dly

5 Chamber 13 Delay

These effects are similar

to those in Single Mode

As effect #1

As effect #2

As effect #3

100ms delay

200ms stereo delay

6 Cathedral 14 Echo

7 Arena 15 Chorus

8 Gated Rev

16 Phaser

Stereo echo

Ideal for guitar chorus

Instrument/vocal phaser

FX OFF mode If preferred, the internal processor may be turned off letting you use

AUX5 / AUX6 and ST5 (ST1) with an external device only. This may be the case if you have a favourite reverb or similar processor you prefer to use. The AUX5 and AUX6 sends are always available from their connector panel TRS sockets. The ST5 (ST1) external input TRS sockets can be used to return the external effect to the mix.

18 WZ316:2 and 12:2 User Guide

The Stereo Effects Return Channel

AUX SENDS The combined effects signal can be returned to

ST5 / FX

AUX

1

AUX

2

AUX

3

AUX

4

OO

1

2

3

5

6

816

BANK

/ FX

ST5

LEV

PRE

AUX

1

AUX

2

AUX

3

AUX

4

+6OO

+6

SEL

+6OO

MUTE

+4OO

Auxes 1 to 4. These sends are not affected by the ST1 (ST5) LEV control which returns the signal to the LR mix. The stereo signal is summed to feed the auxes in mono. This can be changed if preferred by repositioning internal jumper options so that L feeds auxes 1,3, and R feeds auxes 2,4. Use the aux sends to add the effects to the monitors if required.

Selecting the effects preset Press SEL to scroll down

through the available effects. The green indicator lights to show which effect is active. Press BANK to change between preset 1-8 and preset 9-16. The red indicator lights to show presets 9-16 are selected. In

9

10

11

124

13

14

157

dual mode BANK toggles between the AUX5 and AUX6 effects processor selections. The default preset names are printed on the front panel for reference.

Turning off the internal effects Once you have scrolled

through all 16 effects the green indicator turns off showing that the internal processor is turned off. Select this mode if you want to work with external effects only.

ST1 (ST5) LEV Returns the combined stereo effects to the main

LR mix. Adjust from fully off to +6dB maximum boost. Normal 3 0’clock 0dB operating position is marked on the panel.

MUTE Press this switch to mute the stereo return channel. This

turns off the feed to the LR mix and the auxes. The channel may also be muted using a footswitch plugged into the rear of the console. The red indicator lights when the channel is muted by the MUTE switch and/or the footswitch. Note that the MUTE switch is latching. This means the channel shall remain muted as long as the switch is in its pressed position regardless of the footswitch.

MODE Recessed switch to prevent accidental operation. Situated

below the AUX6 master level control. Use a pen or sharp object to change the setting. In the normal up position the processor is configured as a SINGLE effects unit driven by AUX5. In the pressed position the processor is configured as a DUAL effects unit driven by AUX5 and AUX6.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

FACTORY PRESETS

SINGLE

STAGE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

KARAOKE

PING PONG

CHORUS

SLAP+REV

DLY+REV

ECHO+REV

CH+REV

PH+REV

DUAL

STAGE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

STAGE

ROOM

HALL

SLAP DLY

DELAY

ECHO

CHORUS

PHASER

AUX

5

6

+4OO

SINGLE FX DUAL FX

AUX5 = 1-8 AUX6 = 9-16

AUX5 = 1-16

EXTERNAL

AUX5

INTERNAL

AUX6

SINGLE

L/M

ST5

R

EFFECT

1-16

DUAL

EFFECT

1-8

EFFECT

9-16

+

-

+

-

MIX

L R

Resetting the effects presets To restore the factory default

presets hold down the SEL key while powering up the console. Make sure you do this while the amplifiers are turned off. The 8 green

indicators flash in sequence followed by the BANK indicator flashing on then off to confirm the reset.

WZ316:2 and 12:2 User Guide 19

MIDI

A rear panel MIDI IN socket is provided. This lets you control the internal effects via MIDI. For example, you could use a MIDI sequencer or controller to remotely change the preset type or to mute the effect. MIDI is also used for editing the effects preset parameters using Allen & Heath software running on a PC.

MIDI channel number The factory default is MIDI channel 1. To change to a different

channel hold down the BANK key while powering up the console. Make sure you do this while the amplifiers are turned off. While still holding the BANK key, use the SEL key to

step through channels 1-16. After cycling through MIDI channels 1-16 the processor will then turn all the indicators on then all off. Release both the BANK and SEL keys when the required MIDI channel number is reached. The BANK indicator will flash twice to confirm the selection has been made.

Using MIDI to change the effects preset

MIDI Program Change message CnH xxH n = MIDI channel number

xx = 00H to 0FH (preset 1 to 16)

HEX PROGRAM NUMBER

1 00 2 01 3 02 4 03 5 04 6 05 7 06 8 07

STAGE KARAOKE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

PING PONG

CHORUS

SLAP+REV

DLY+REV

ECHO+REV

CH+REV

PH+REV

08 9 09 10 0A 11 0B 12 0C 13 0D 14 0E 15 0F 16

Using MIDI to mute the effects return

MIDI Program Change message CnH xxH n = MIDI channel number

xx = 64H (muted)

xx = 65H (not muted)

Using MIDI to edit the effects parameters

The MixWizard FX Editor software can be downloaded free of charge from the Allen & Heath web site. This program runs on a PC computer using the Windows 95, 98, ME, 2000 or XP operating system. The PC needs a MIDI output port to be able to communicate with the console. Check the instructions that come with your PC to see if it has a suitable port or if you need to add a sound card with MIDI port, or use a game port to MIDI adaptor cable.

Install and run the FX Editor software on your PC. Connect the PC MIDI output to the console MIDI input. Refer to the Help file that comes with the software for instructions on configuring and using the software to edit the effects parameters.

The effects can be edited on-line so that you can hear the effect of your changes as you adjust the parameters. Once you are happy with the results you can overwrite the selected console presets with your edited effects. You can also archive your settings as a file stored on the PC.

TYPES PARAMETERS

Stage Reverb Pre-Delay

Room Reverb Decay

Hall Reverb Damping

Plate Reverb Diffusion

Chamber Reverb Delay Course

Cathedral Reverb Delay Fine

Arena Reverb Repeats

Gated Reverb Feedback

Mono Delay 1 tap Speed

Stereo Delay 1 tap Depth

Mono Delay 2 tap Level

Stereo Delay 2 tap

Chorus EQ UALISER

Flanger Lo cut/boost

Phaser Mid Frequency

Tremelo Mid cut/boost

Panner Hi cut/boost

Rotary Speaker

Pitch Shift NOISE GATE

Detuner Threshold Karaoke Release

20 WZ316:2 and 12:2 User Guide

The Master Section

PRE

AUX

1

+4OO

AUX

2

+4OO

AUX

3

+4OO

AUX

4

+4OO

AUX

5

+4OO

AUX

6

+4OO

SINGLE FX DUAL FX

AUX5 = 1-8 AUX6 = 9-16

AUX5 = 1-16

AUX 1

1-2

AUX 2

AUX 3

3-4

AUX 4

AUX 5

5-6

AUX 6

/ FX

ST5

ST6

M

ALL UP = LR

ALT LR OUT MONITOR

AB

0

+10

OO

L+R AUX 6

RL

M

AUX MASTERS

adjusts the output level to match external equipment, or to trim the monitor, effect or other send without affecting the mix balance. Up to +4dB boost is available above the normal 0dB position.

Note that the AUX5 and AUX6 master controls do not affect the level sent to the internal effects processor. They do affect the level available at the rear panel aux output sockets.

Each aux mix has a master level control that

LR FADER MASTERS Individual 100mm faders adjust the main

L-R mix level. They provide +10dB boost above the nominal ‘0’ position. For best performance the faders should be operated around the ‘0’ position for normal ‘loud’ level. If you find yourself operating significantly below ‘0’ then the amplifier or other destination equipment is too sensitive for the console +4dBu output. Simply turn down the amplifier or equipment level trim. If none is available then insert an attenuator pad between the console and connected equipment. Operating the faders well below ‘0’ may degrade the noise performance of the equipment.

10

5

10

5

M FADER MASTER A recessed mode switch above the M fader

selects the fader source.

0

5

10

0

5

10

Mono master To use the M output as an L+R summed mono feed then select the up position. The fader can become the master level controller for a mono PA, mono fill or delay speaker, additional zone, mono recording and so on.

20

Aux master To use the M output as the AUX6 master press the switch using a pen or pointed object. Use the post-fade AUX6 channel sends to mix the required signals to the M output. This provides a

30

OOOO

main console output with its own mix bus. Typical applications include:

Dedicated MONO mix The output feeds a centre mono fill speaker system, for example above the proscenium arch or along the front of the stage in a theatre. You may wish to feed just a few of the sources

AUX6

to these speakers, for example just the radio mic channels for front row clarity. Using the aux send allows you to create the required mix balance and have proper master fader control.

Aux fed subs This increasingly popular application drives the sub bass speakers with their own mix. It lets you send only those sources with wanted low frequency information to the sub speakers. It can dramatically clean up the mix as non-bass channels such as vocals and guitars are kept out of the subs and therefore do not allow low frequency pickup to muddy the mix. It is typical to include only sources such as kick drum, bass guitar, keyboards and sound effects to these speakers.

The unique MixWizard aux mode feature puts the master control of the sub mix on to a fader next to the main LR faders. This means that the house volume can be controlled without upsetting the balance between LR and sub speakers. The feed to the sub speaker system is on balanced XLR, and it can be monitored by selecting the M switch in the headphones monitor section.

WZ316:2 and 12:2 User Guide 21

AB OUTPUT This is an additional stereo output that can be

configured as a separately controlled mix output or a local loudspeaker monitor send. A recessed mode switch above the AB level control selects the source. Use a pen or pointed object to change the setting.

PHONES

OO

0

TO LR

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

R

L

PFL

PHONES

10

0

AUX 1

1-2

AUX 2

Adjust the output level from fully off to a maximum +10dB boost. The normal 0dB position is marked on the panel.

With the mode switch in its up position, the LR mix is selected as the source to the AB output TRS jacks. Factory default setting is post-LR fader. If preferred you can change this to pre-LR fader by repositioning internal option jumpers so that the LR master fader movements do not affect the output. In LR mode the AB output provides an additional main mix output ideal for independent fill speaker control, 2-track recording or broadcast feed and so on.

With the mode switch pressed, the console monitor system is selected as the source. You can use this to feed local monitor speakers to listen to the source selected on the monitor switch bank interrupted by PFL. Local speaker monitoring can be useful in theatre and stage monitoring applications.

Console Monitor Comprehensive engineer’s headphones monitoring is provided. Select the source to listen to using the monitor switch bank. With no switch pressed the post-fade LR mix is monitored. Press M to listen to the post-fade M source. Pressing any switch higher up the bank overrides the previous selection. Pressing ST1 (ST5) listens to the wet effects only return signal if the internal effects processor is active. Pressing Aux pairs 1-2, 3-4, 5-6 together listens to the two selected auxes as a stereo pair. The two console meters display the selected monitor source signal level.

AUX 3

3-4

AUX 4

AUX 5

5-6

AUX 6

ST5

/ FX

ST6

Pressing channel PFL switches automatically overrides the current monitor selection with the pre-fade signal from that channel or selection of channels. The red PFL active indicator lights and the console meters display the channel signal.

We recommend you use closed ear headphones in the range 30 to 600 ohms designed for live sound monitoring. Headphones around 100 ohms impedance are a popular choice.

WARNING: To avoid damage to your hearing do not operate

any close-to-ear monitoring such as headphones for long periods

M

ALL UP = LR

ALT LR OUT MONITOR

0

AB

at high volume. Continued exposure to high volume sound can cause frequency selective or wide range hearing loss.

ST2 (ST6) RETURN This is a simple stereo return channel that

+10OO

routes to the main LR mix. The typical application is to plug in a CD or similar playback device for walk-in or background music. It can also be used as an additional effects return. Adjust the volume using the LEV control. Route the signal to LR by pressing the TO LR switch. The green LED lights to warn that the source is routed to LR.

You can use the ST2 (ST6) input to monitor your 2-track recording. Press the ST2 (ST6) monitor source select switch. Use the AB output to feed your recorder. If you are monitoring while mixing live, make sure you do not accidentally press the TO LR switch and route your recording to the house speakers.

22 WZ316:2 and 12:2 User Guide

Gain Structure

How the levels between the different signal stages are set up is referred to as the gain structure signals are matched to the ‘normal operating level’ of the console. Similarly the levels of the connected amplifiers and destination equipment should be correctly matched to the console outputs. If set too high then the signal peaks will be clipped resulting in distortion, and if set too low then the signal-to-noise performance will be degraded resulting in excessive background hiss and noise.

. For best performance it is important that the connected source

Using the Meters The MixWizard provides metering of inputs and outputs.

For best results operate the console with the main meters averaging around ‘0’ allowing the loudest moments to reach ‘+6’. Reduce the channel gain settings if the red peak indicators start to flash. Note that the peak indicators light 5dB before actual clipping to warn that you are nearing distortion and should reduce gain. The LED bar meters have a ‘quasi-peak’ response with fast attack and slow release so that fast musical transients are accurately displayed.

Matching a Source to the Console Start by turning down the channel

fader and send levels to prevent unexpected loud volumes reaching the main speakers and monitors. Using PFL, adjust the GAIN control for an average ‘0’ reading on the console meters. These automatically switch to show the channel pre-fade signal when PFL is pressed. Listen to the signal using headphones or local AB monitor. Once the channel gain is correctly set you can raise the levels to bring the channel into the mix. Note that you may need to adjust the gain if you make significant changes to the EQ. Make sure that any equipment inserted into the channel is set to operate around 0dBu line level. First set the gain with inserted signal processors such as compressors switched to bypass.

Matching the Console to Destination Equipment The console

produces a standard XLR output level of +4dBu for a meter reading of ‘0’. It can produce a maximum of +26dBu which is more than is usually required and therefore gives you plenty of headroom. If you are connecting to a sensitive power amplifier it is advisable to turn down its input trim control if the normal console level is too high. Simply turning down the console output faders degrades the output stage noise performance and reduces the resolution of the fader movement. The output faders are best operated around ‘-10’ to ‘0’ for loudest average volume required. This allows additional headroom if you need it.

Terminology The normal operating level is the optimum signal level for best

console performance, indicated by ‘0’ meter readings and resulting in the +4dBu XLR output level. The channels operate at 0dBu and the mix stages at –2dBu for extended headroom. Headroom for loud peaks before the signal becomes clipped The signal-to-noise ratio level and residual noise floor dynamic range signal range possible from quietest to loudest.

is the sum of headroom and SNR representing the maximum

(SNR) is the difference measured in dB between normal

is the extra level available above normal to allow

resulting in audible distortion.

(hiss) produced by the console electronics. The

Final word… A little care with setting gain structure throughout the signal

chain will give you the best performance and most manageable control of the mix.

WZ316:2 and 12:2 User Guide 23

Specifications

Performance

Maximum output level XLR +26dBu into 600 ohms max load Jack +21dBu into 2k ohm max load

Internal headroom Channels +21dB Mix +23dB

Meters 3 colour LED, quasi peak response Sensitivity 0VU = +4dBu at XLR output Master meters 12 segment -30 to +16dB Channel meters 2 segment -12, +16dB (5dB before clip)

Frequency response 20Hz to 50kHz +/-0.5dB

THD+n at +10dBu 1kHz Channel to mix out < 0.004%

Crosstalk at 1kHz Fader shutoff >90dB Channel mute >100dB Inter channel >90dB

Noise, rms 22Hz to 22kHz Mic EIN -128dB Residual output noise < -95dBu (-99dB S/N) LR unity fader mix noise < -83dBu (-87dB S/N)

Channel HPF 12dB/octave below 80Hz

Mono 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

Stereo EQ HF Shelving, +/-15dB, 12kHz HM Peak/dip, +/-15dB, 2.5kHz, Q=1.8 LM Peak/dip, +/-15dB, 250Hz, Q=1.8 LF Shelving, +/-15dB, 80Hz

Power supply Internal 100-240V, 50/60Hz auto sensing, IEC input External Input for optional MPS12 backup supply Power consumption 35W max Mains fuse T630mA L 20mm

Mechanical

Free standing dimensions W 507 (20”) x D 530 (20.9”) x H 194 (7.7”)

Rack mounted W 483 (19”) x D 122 (4.8”) x H 444 (17.5”) 10U Underside connectors

Rack mounted W 483 (19”) x D 193 (7.6”) x H 497 (19.6”) 11.2U Rear connectors

Weight 10kg (22lbs)

24 WZ316:2 and 12:2 User Guide

Connections

Mono channel XLR balanced pin 2 hot Sensitivity -60 to +10dBu TRS balanced, tip hot Sensitivity -40 to +10dBu Pad out (MIC) 2k ohm Pad in (MIC or LINE) >10k ohm, -20dB Max input level +30dBu XLR phantom power +48V, on/off

Stereo channel ST1,3 TRS unbalanced >10k ohm, -16 to +20dBu ST2,4 TRS balanced >10k ohm, -16 to +20dBu

Stereo returns ST1(5) TRS balanced >10k ohm, -6 to +20dBu ST2(6) TRS unbalanced >2k ohm, -2 to +20dBu

Inserts Channel TRS, tip send, ring return, 0dBu Output TRS, tip send, ring return, -2dBu

L, R, M outputs XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max

Aux 1-6 output TRS impedance balanced <75 ohm, -2dBu, +21dBu max Electronic balance option <75 ohm, +4dBu, +26dBu max

Direct out TRS impedance balanced <75 ohm, 0dBu, +21dBu max

AB out TRS impedance balanced <75 ohm, -2dBu, +21dBu max

Headphones TRS, tip L, ring R, 30 to 600 ohm headphones recommended

Lamp 4-pin XLR max 12V 5W lamp

MixWizard 3 Series Part Numbers

3

WZ

12:2 8 mic/line, 2 dual stereo, LR console W31202/v

3

WZ

16:2 16 mic/line LR console W31602/v

3

WZ

14:4:2 10 mic/line, 2 dual stereo, 4 group console W31442/v

3

WZ

12:2 and WZ316:2 Sys-Link II output option kit W312/16-SLV2

3

WZ

14:4:2 Sys-Link II input/output option kit W31442-SLV2

SSM2142P balanced output driver option IC AE0302 DRV134 balanced output driver option IC (alternative to above) AE5725

Allen & Heath MPS12 backup power supply option MPS12/v

Allen & Heath 18” gooseneck LED lamp LEDLAMP

WZ316:2 and 12:2 User Guide 25

WZ316:2

WZ3 16:2

MIC

BALANCED

LINE

INSER T

0dBu

MIC/LINE INPUTS

2= +

TIP= +

AUX 5

AUX 6

48V

GAIN

LINE (PAD)

-20dB

+

-

TIP= SEND

RING= RETURN

DIRECT OUT

0dBu

IMPEDANCE BALANCED

EFFECTS

MODE

SINGLE

DUAL

MIDI PARAMETER EDIT

PHANTOM POWER

HPF

TIP= +

RING= -

EFFECT

1-16

4 BAND EQUALISER

HF

HM

LM

LF

ST1 IN (EXT EFFECTS IN)

L/M

R

EFFECT

1-8

EFFECT

9-16

FOOTSWITCH

PK

SIG

PFL

FADER

POST-EQ

P = PRE-FADE S = SWITCHED A = POST-FADE

B

A

AUX

PRE-FADE

POST-FADE

PRE-INSERT, PRE-EQ

C

D

STEREO RETURN 1

+

-

BALANCED 0dBu

+

SUM

+

ST2 IN

L/M

UNBALANCED -2dBu

R

MUTE

PRE

HGJUMPER EF

P S

P

S

1

2

MUTE

SUM

+

MS

JP1

MONO/STEREO AUX SOURCE

A S

3

4

FROM AUX5,6

TO MONITOR

STEREO RETURN 2

TO MONITOR

ST2 TO LR

PAN

5

LKJI A

LR

AUX1

AUX2

AUX3

AUX4

LR

SYS-LINK CONNECTION

AUX 1-6

PFL

LEFT

RIGHT

SL

AUX SENDS 1-6

SL

AUX1

STEREO 1-2

AUX2

AUX3

STEREO 3-4

AUX4

AUX5

STEREO 5-6

AUX6

ST1 (EFFECTS)

ST2

M

ALL UP= L-R

MASTER

AUX1-6 TO MONITOR

MONITOR

L-R

POST-FADE

PRE-FADE

INSE RT

-2dBu

INSE RT

-2dBu

MONO SUM

AUX6

AUX OUT

TIP= +

+4dBu BAL OPTION

L

R

PFL

ACTIVE

MONITOR METERS

MONITOR

LEV

A-B LEV

A-B

-2dBu IMP EDANCE BALA NCED

L FADER

R FADER

+

SUM

M FADER

-2dBu

IMPEDAN CE BALANCED

HEADPHONES

L

R

A OUT

TIP= +

B OUT

TIP= +

BAL

L-R

BAL

M

BAL

LEFT OUT

2 = +

RIGHT OUT

2 = +

M OUT

2 = +

+4dBu

SL

AUX MIX

AUX 5,6 TO F X, AUX6 TO C

PFL DC

PFL MIX

SL

S

6

MONITOR SELECT

SL

L MIX

SL

R MIX

FROM AUX6

26 WZ316:2 and 12:2 User Guide

WZ312:2

WZ3 12:2

MIC

2= +

TIP= +BALANCED

LINE

INSERT

0dBu

MIC/LINE INPUTS

L/M

INPUT ST1(3)

R

+

L/M

INPUT ST2(4)

-

+

R

-

DUAL STEREO INPUTS

48V

GAIN

LINE (PAD)

-20dB

TIP= SEND

RING= RETURN

DIRECT OUT

0dBu

IMPEDANCE BALANCED

GAIN

PHANTOM POWER

HPF

+

-

TIP= +

RING= -

ON

SYS-LINK CONNECTION

RIGHT

LEFT

PFL

AUX 1-6

4 BAND EQUALISER

HF

HM

LM

LF

PRE-FADE

POST-FADE

CH

LR

4 BAND EQUALISER

+

HF

HM

LM

LF

SIG

PRE-INSERT, PRE-EQ

C

D

PK SIG

SUM

P = PRE-FADE S = SWITCHED A = POST-FADE

PK

PFL

MUTE

FADER

POST-EQ

B

A

FEJUMPER GH

S

P

1

AUX

P = PRE-FADE S = SWITCHED A = POST-FADE

PFL

+

MUTE

PRE-FADE POST-FADE

MS MS

CN4

MONO/STEREO AUX

BADCFEHGJILKJUMPER OPTIONS

P

AUX

1

PRE

2

FADER

PRE

P SPPS2S

3

AUX SENDS 1-6

SL

AUX1

STEREO 1-2

AUX2

AUX3

STEREO 3-4

AUX4

AUX5

STEREO 5-6

AUX6

ST5 (EFFECTS)

ST6

M

ALL UP= L-R

PRE

SL

MASTER

AUX1-6 TO MONITOR

R

LRL

INSERT

MONITOR

L-R

POST-FADE

-2dBu

A-B LEV

PFL

ACTIVE

L

L FADER

+4dBu BAL OPTION

R

MONITOR METERS

LEV

A-B

R FADER

-2dBu IMPEDANCE BALANCED

SL

PAN

IJKL

S

SA

A

6

5

4SP3

PAN

++

CN5

SAA4S5S

6

AUX MIX

AUX5,6 TO FX, AUX 6 TO C

PFL DC

PFL MIX

MONITOR SELECT

L MIX

R MIX

SL

IMPEDANCE BALANCED

MONITOR

A OUT

TIP= +

B OUT

TIP= +

BAL

AUX OUT

TIP= +

-2dBu

HEADPHONES

L R

2 = +

L-R

2 = +

LEFT OUT

+4dBu

RIGHT OUT

+4dBu

FROM AUX5,6

TO MONITOR

LR

AUX1

AUX2

AUX3

AUX4

ST2 TO LR

TO MONITOR

LR

STEREO RETURN

MODE

SINGLE

AUX 5

AUX 6

DUAL

MIDI PARAMETER EDIT

EFFECT

1-16

EFFECTS

ST6 IN (EXT E FFECTS IN)

L/M

R

EFFECT

1-8

EFFECT

9-16

STEREO RETURN

+

-

BALANCED 0dBu

+

-

+

FOOTSWITCH

SUM

+

MONO/STEREO AUX SOURCE

ST6 IN

L/M

R

MUTE

SUM

+

SM

JP1

UNBALANCED -2dBu

WZ316:2 and 12:2 User Guide 27

FROM AUX6

+

MONO SUM

AUX6

SUM

M FADER

M

BAL

M OUT

2 = +

+4dBu

FX Parameters: This table shows the factory default preset settings. These may be edited via MIDI using the Allen & Heath MixWizard FX Editor software running on a PC.

FX1 Processor FX2 Processor

No Name FX Type Name and

Single Mode

Stage St Pre-dly ms

1

Room Ro Pre-dly ms

2

Hall HA Pre-dly ms

3

Plate PL Pre-dly ms

4

Chamber Ch Pre-dly ms

5

Cathedral CA Pre-dly ms

6

Arena Ar Pre-dly ms

7

Gated Rev GA Pre-dly ms

8

Karaoke D4 Delay

9

Ping Pong D3 Delay s

10

Chorus CH Speed 6 1-99 Depth

11

Slap+Rev D1 De lay s

12

Dly+Rev D3 Delay s

13

Echo+Rev D3 De lay s

14

Ch+Rev CH Speed

15

Ph+Rev PH Speed

16

Dual Mode

Stage St Pre-dly ms

1

Room Ro Pre-dly ms

2

Hall HA Pre-dly ms

3

Plate PL Pre-dly ms

4

Chamber Ch Pre-dly ms

5

Cathedral CA Pre-dly ms

6

Arena Ar Pre-dly ms

7

Gated Rev GA Pre-dly ms

8

Stage St Pre-dly ms

9

Room Ro Pre-dly ms 5 0-99 Decay

10

Hall HA Pre-dly ms

11

Slap Delay D1 Delay s

12

Delay D3 Delay s

13

Echo D4 Delay time 4 1-5 N/A

14

Chorus CH Speed

15

Phaser PH Speed

16

Parameter 1 Parameter 2 Parameter 3 Parameter 4 Parameter 1 Parameter 2 Parameter 3 Parameter 4

Default

units

Range Name and

Value

15

5

35

0 30 65 80

0

4

1.5

0.1

0.2

0.6 30 30

15

5

35

0 30 65 80

0

0-99 Decay

1-5 N/A

0.1-2 Delay ms

0-99 Depth

0-99 Decay

units

Default

Range Name and

Value

1-10 Damping

8

1-10 Damping

8

1-10 Damping

7

1-10 Damping

5

1-10 Damping

9

1-10 Damping

8

1-10 Damping

5

1-10 Diffusion

7

- Repeats

-

0-99 Feedback

0

0-40 Delay ms

40

0-99 Feedback 0 0-99% Level

20

0-99 Feedback

70

0-99 Feedback

0

0-40 Delay ms

15

0-99 Feedback

90

1-10 Damping

8

1-10 Damping

8

1-10 Damping

7

1-10 Damping

5

1-10 Damping

9

1-10 Damping

8

1-10 Damping

5

1-10 Diffusion

7

units

Default

Value

9 5 8 3 8 7

10

8 10 20 40

20 20 10 70

9

5

8

3

8

7 10

8

Range Name

and units

1-10 Level

0-99% Level

0-40 Level

0-99% Level

0-40 Level

0-97% Level

1-10 Level

Default

Range FX Type Na me and

Value

0-99

90

0-99

90

0-99

80

0-99

80

0-99

70

0-99

70

0-99

70

0-99

90

0-99

80

0-99

90

0-99

90

0-99 HA Pre-dly ms

90

0-99 HA Pre-dly ms

90

0-99 PL Pre-dly ms

50

0-99 Ar Pre-dly ms

80

0-99 PL Pre-dly ms

90

0-99

99

0-99

99

0-99

99

0-99

99

0-99

99

0-99

99

0-99

99

0-99

99

units

Default

Value

35 35 40 65 30

15

35

0.1

0.2

30 30

Range Name and

units

0-99 Decay

0-1 Delay ms

1-99 Depth

Default

Value

9 8

10

2 5

8 8

7 20 70

15 90

Range Name and

units

1-10 Damping

0-99 Feedback

- Repeats

0-40 Delay ms

0-99 Feedback

Default

Value

7 4 2 7 9

9 5 8

0 20 10 10 70

Range Name and

units

1-10 Level

0-99% Level

1-10 Level

0-40 Level

0-97% Level

Default

Value

20 30 20 15 20

99 99 99 99 99 99 99 99

Range

0-99

Key to FX types:

CH – Chorus FL – Flange PH – Phaser Tr – Tremolo Pn – Panner RS – Rotary speaker PS – Pitch shift Dn – Detuner D1 – Mono delay D2 – Stereo delay D3 – Ping Pong D4 – Karaoke St – Stage Ro – Room HA – Hall PL – Plate Ch – Chamber CA – Cathedral Ar – Arena GA – Gated RE – Reverse Rg – Ring Modulator Co – Compressor D1 – Mono delay D2 – Stereo delay D3 – Ping Pong D4 - Karaoke

28 WZ316:2 and 12:2 User Guide

FX Types Available: This table shows the effects types available. You may change the factory defaults to other types shown here using the FX Editor software.

Note that effects type W can only be used in single mode. Effects type H can be used in both single and dual mode.

Type

CH Chorus H 12 Speed 1-99 Depth 0-40 Delay 0-40ms Level 0-99

FL Flanger H 14 Speed 1-99 Depth 0-40 Feedback 0-97% Level 0-99

PH Phaser H 16 Speed 1-99 Depth 0-40 Feedback 0-97% Level 0-99

Tr Tremelo H 18 Speed 1-99 Depth 0-40 N/A - Level 0-99

Pn Panner H 20 Speed 1-99 Depth 0-40 N/A - Level 0-99 RS Rotary Spkr W 24 Speed 1-99 Type 6 variants X-over freq Level 0-99 PS Pitch Shift H 34 Shift -12 to +24 Tracking 1-3 N/A - Level 0-99 Dn Detuner H 36 Detune -12 to +12 N/A - N/A - Level 0-99

St Stage W 84 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99

St Stage H 66 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 Ro Room W 86 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 Ro Room H 68 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 HA Hall W 88 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 HA Hall H 70 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99

PL Plate W 90 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99

PL Plate H 72 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 Ch Chamber W 92 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 Ch Chamber H 74 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 CA Cathedral W 94 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 CA Cathedral H 76 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99

Ar Arena W 96 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99

Ar Arena H 78 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99 GA Gated H 62 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99 GA Gated W 80 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99 RE Reverse H 64 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99 RE Reverse W 82 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99 Rg Ring Modulator H 22 Frequency 1-99 N/A - N/A - Level 0-99 Co Compressor H 8 Threshold 60-0 Ratio 1-19, inf Attack 1-10 Gain -19 to +20 D1 Mono Delay (1 tap) H 46 Delay coarse 0-1 Delay fine 0-99ms Feedback 0-99% Level 0-99 D2 Stereo Delay (1 tap) H 48 Delay course 0-0.7 Delay fine 0-99ms Feedback 0-99% Level 0-99 D1 Mono Delay (2 taps) H 50 Delay course 0-1 Delay fine 0-99ms Feedback 0-99% Level 0-99 D1 Mono Delay (1 tap) W 52 Delay course 0-2 Delay fine 0-99ms Feedback 0-99% Level 0-99 D2 Stereo Delay (1 tap) W 54 Delay course 0-1 Delay fine 0-99ms Feedback 0-99% Level 0-99 D2 Mono Delay (2 taps) W 56 Delay course 0-2 Delay fine 0-99ms Feedback 0-99% Level 0-99 D1 Karaoke H 58 Delay time 1-5 N/A - Repeats 1-10 Level 0-99

Description 1 2 3 4 FX

H or W

type*

ID

Code

Name Range Name Range Name Range Name Range

WZ316:2 and 12:2 User Guide 29

User Options

REMOVE 4x M4 POZI SCREWS PER SIDE

REMOVE SIDE TRIMS

REMOVE M4 POZI SCREW PER SIDE

ROTATE POD

REMOVE 3x M3 TORX SCREWS

ROTATE POD

REMOVE 4x M3 TORX SCREWS

The MixWizard has a versatile architecture which should satisfy most applications you may encounter without modification. However, the following internal options provide alternative settings for those applications that may demand them. Access is required to the internal assemblies. For user convenience, pluggable jumper links are used in most places.

Remove the base Start by removing the side

trims if fitted using a Pozi crosshead screwdriver. Release the two M4 Pozi head pod securing screws and rotate the connector pod to gain access to the three M3 rear base fixing screws. Use a Torx starhead screwdriver to remove these. Rotate the pod again to remove the four M3 underside base screws using the Torx driver. Carefully lift off the base.

Configure the internal options Fit the

options required. Set the option jumpers to the required positions. Make sure they are pressed fully home. Check that all channels are correctly set and all options fitted according to their instructions. Make sure that no debris or parts are left loose inside the console.

LIFT OFF BASE

AUX PRE/POST FADER

DIRECT OUT PRE/POST FADER

AUX PRE/POST INSERT/EQ

Refit the base Carefully reposition the base.

Refit the fixing screws. Lock the connector pod in the required position using the securing screws. Refit the side trims if required.

IMPORTANT: Check carefully that all channel

jumpers are correctly set as required. Errors on one or more channels now may cause user problems later. We recommend that you write the repositioned jumper settings on a label and adhere this to the rear panel. This would provide a helpful reference to other users of the console.

MONO INPUT STEREO INPUT (12:2)

AUX STEREO/MONO

AUX MASTER MASTER LR

AUX BALANCE OPTION

AB PRE/POST LR FADER

AUX PRE/POST FADER

ST AUX STEREO/MONO

30 WZ316:2 and 12:2 User Guide

MONO CH - AUX PRE/POST EQ

L

AUX AUXDIR1-23-456

PRE-INSERT/POST-EQ

MONO CH - DIRECT OUT

L

AUX AUXDIR1-23-456

MONO CH - AUX PRE/POST FADER

PR=PRE PO=POST SW=SWITCH

L

AUX AUXDIR1-23-456

STEREO CH - AUX PRE/POST FADER

PR=PRE PO=POST SW=SWITCH

L

Aux pre/post insert/EQ

Factory default for the mono channel pre-fade auxes is pre-insert, preEQ. This is popular with many users mixing monitors from FOH. It prevents the channel EQ and inserted

ABCDEFGHIJK

PRPOPRPOSWPRSWPRSWPOSWPO

compressors affecting the monitor mix. Move the jumper from A to B to change this to post-insert, post-EQ if preferred. Note that auxes are always post-mute.

Direct output source Factory default is pre-

fader. This is common for live recording to

ABCDEFGHIJK

PRPOPRPOSWPRSWPRSWPOSWPO

multitrack. The live mix fader movements do not affect the recording. Move the jumper from C to D to change to post-fade. Post-fade is appropriate when using the output as a direct channel effects send.

Channel Aux pre/post settings Factory

default is Aux 1-2 = pre-fade, Aux 3-4 = switched, Aux 5-6 = post-fade. You can change these settings

ABCDEFGHIJK

PRPOPRPOSWPRSWPRSWPOSWPO

ABCDEFGHIJK

SWPRSWPRSWPRSWPRSWPOSWPO

AUX23456

1

for different combinations of pre/post or switched auxes by repositioning the links. Refer to the system block diagram to explore the possibilities. Make sure you set all mono and stereo channels the same. Before you make your choice, consider whether you want to use AUX5 or 5/6 for the internal effects (should be post) and/or AUX6 to feed aux fed subs (also post). We recommend you only change these settings if absolutely necessary.

STEREO CH - MONO/STEREO AUXES

CN5

CN4

POST-FADE AUXES

STEREOMONO

PRE-FADE AUXES

STEREOMONO

AUX MASTER - ST1(5) MONO/STEREO

JP1

ST1(5) AUX SOURCE

STEREOMONO

LR MASTER - AB SOURCE

JP2

JP4

JP1

JP3

AB PRE/POST LR FADER

LRLR

PRE

POST

Stereo/Mono aux source The stereo

channels can feed the auxes with a mono sum of L+R, or be configured so that L feeds the odd numbered auxes, and R the even. This is preferred when using odd/even auxes as stereo pairs. Factory default is the mono setting. Note that you should also set the ST1 (ST5) stereo/mono jumper to the same position.

Effects return stereo/mono aux source

The return channel ST1 (5) feeds Auxes 1-4 with a mono sum of the stereo signal. If you are working with stereo auxes you can reconfigure this for stereo with L feeding Auxes 1, 3 and R feeding Auxes 2, 4. The jumper is found behind the AUX2 send control.

AB source pre or post LR faders The

factory default is that the post-fade LR mix feeds the AB output. If you prefer the master LR faders not to affect the AB output then reposition the two option jumpers in the PRE position. This may be desired if you are using the AB output to feed a 2-track recording independent of the house level.

WZ316:2 and 12:2 User Guide 31

AUX MASTER - BALANCED OUTPUT OPTION

U12 U11 U10 U9 U8 U7

1

AUX6 AUX5 AUX4 AUX3 AUX2 AUX1

CUT OUT 2x 0 OHM RESISTOR LINKS

PLUG IN SSM2142 or DRV134 IC

AUX master balance option The 6 aux

outputs are impedance balanced as standard operating at nominal -2dBu and with +21dBu maximum drive. They provide similar interference rejection to electronically balanced outputs when connected to balanced equipment inputs. An electronically balanced option is available if you require nominal +4dBu and higher output drive up to +26dBu over very long cable runs. However, it is not usually necessary to fit this option as the impedance balanced drive satisfies most applications. Check that you really need the option before fitting it.

There are two balanced driver ICs which may be used. Either is suitable. These are available from Allen & Heath or most electronic component suppliers. The Allen & Heath part number is shown below:

SSM2142P A&H Part AE0302

DRV134 A&H Part AE5725

WZ312:2 OR WZ316:2

SYS-LINK II OUTPUT

SLAVE CONSOLE

37WAY CABLE

For each aux master, snip the legs of the two zero ohm resistor links as shown. This removes them from the circuit. Now simply plug the option IC into the socket. Observe the correct IC pin1 orientation and make sure its legs are correctly aligned with the socket. Test the output once the work is complete. You should measure the same level but opposite polarity signal between + (hot) and ground, and – (cold) and ground.

Sys-Link II output option A blank plate is

fitted here as standard. This may be replaced with an optional card which provides a 37way D connector for linking the outputs to other Allen & Heath consoles already fitted with Sys-Link II. The

3

WZ

12:2 or WZ316:2 can become input channel

expanders for other consoles.

IMPORTANT: The option does not include the SysLink II input. Therefore the WZ cannot be used as the master in a linked system, nor can two of these models be linked together. You need to connect these to a console that does include the Sys-Link II input connection, for example the

3

WZ

14:4:2 or ML3000 with the option already fitted.

Also note that you need an adapter cable if you are connecting Sys-Link II (Version 2) to the older SysLink I (Version 1) standard.

3

12:2 or WZ316:2

A 37way shielded multi-core cable carries the

SYS-LINK II INPUT

WZ314:4:2 OR OTHER A&H CONSOLE

SYS-LINK II OUTPUT

MASTER CONSOLE

MixWizard balanced mix signals and PFL system to the master console.

For full details please refer to the Sys-Link option Applications Note AP5736 and Fitting Instructions AP5735.

32 WZ316:2 and 12:2 User Guide

Cue Sheet WZ

Copy and use this page to record your console settings.

ALLEN&HEATH MixWizard WZ

0

30

20

GAIN

10- 10

HF

-15 3k

1k

700

500Hz

HM

-15 180

70

45

35Hz

LM

-15

LF

-15

PRE

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

OO

POST

=

PAN

PK!

PFL

SIG

10

5

0

5

10

+48V

PAD

(LINE)

40

50

4060

HPF

+15

4k

6k

15k

+15

250

400

1k

+15

+6OO

POST POST PRE

+6OO

+6

RL

MUTE

+48V

PAD

(LINE)

0

30

40

20

GAIN

50

60 40

- 10 10

HPF

HF

+15

-15 3k

4k

1k

6k

700

500Hz

15k

HM

+15

-15

180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

PRE

AUX

5

OO +6

AUX

6

OO

+6

POST

=

PAN

L R

MUTE

PK!

PFL

SIG

10

5

0

5

10

+48V

PAD

(LINE)

0

20

GAIN

- 10 10

HF

-15

1k

700

500Hz

HM

-15

70

45

35Hz

LM

-15

LF

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

AUX

5

OO +6

AUX

6

OO

POST

PAN

L R

PK!

SIG

10

0

30

40

GAIN

50

60 40

- 10 10

HPF

HF

+15

3k

4k

6k

700

500Hz

15k

HM

+15

180

250

400

45

1k

35Hz

LM

+15

LF

+15

AUX

1

AUX

2

AUX

3

AUX

4

POST PRE

AUX

5

AUX

6

+6

=

PAN

MUTE

PK!

PFL

SIG

10

5

0

5

10

20

-15

1k

-15

70

-15

PRE

OO +6

OO

POST

L R

5

0

5

3

+48V

PAD

(LINE)

30

HPF

3k

180

=

PFL

12:2

40

50

60 40

+15

4k

6k

15k

+15

250

400

1k

+15

POST PRE

+6

MUTE

3

12:2

LAMP

0

-5

+48V

PAD

(LINE)

0

30

40

20

GAIN

50

60 40

- 10 10

HPF

HF

+15

-15 3k

4k

1k

6k

700

500Hz

15k

HM

+15

-15

180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

POST PRE

AUX

5

OO +6

AUX

6

OO

+6

POST

=

PAN

L R

MUTE

PK!

PFL

SIG

10

5

0

5

10

+48V

PAD

(LINE)

0

30

40

20

GAIN

60 40

- 10 10

HPF

HF

+15

-15 3k

4k

1k

700

500Hz

15k

HM

+15

-15 180

70

250

45

1k

35Hz

LM

+15

-15

LF

+15

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

POST PRE

AUX

5

OO +6

AUX

6

OO

+6

POST

=

PAN

L R

MUTE

PK!

PFL

SIG

10

5

0

5

10

+48V

PAD

(LINE)

0

30

40

20

GAIN

50

- 10 10

50

60 40

HPF

HF

+15

-15 3k

4k

1k

6k

400

6k

700

500Hz

15k

HM

+15

-15

180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

POST PRE

AUX

5

OO +6

AUX

6

OO

+6

POST

=

PAN

L R

MUTE

PK!

PFL

SIG

10

5

0

5

10

+48V

PAD

(LINE)

0

30

40

20

GAIN

60 40

- 10 10

HPF

HF

+15

-15 3k

4k

1k

700

500Hz

15k

HM

+15

-15 180

70

250

45

1k

35Hz

LM

+15

-15

LF

+15

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

POST PRE

AUX

5

OO +6

AUX

6

OO

+6

POST

=

PAN

L R

MUTE

PK!

PFL

SIG

10

5

0

5

10

GAIN

-10

-20

16

O

ON

50

6k

400

LRTO

(ST1+ST2)TO 9-10

0

-5

GAIN

-10

-20

16

O

ON

HF

-15

+15

HM

-15

+15

LM

-15

+15

LF

-15

+15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

POST PRE

AUX

5

OO +6

AUX

6

OO

+6

POST

=

BAL

L R

MUTE

PK!

PFL

SIG

10

5

0

5

10

0

-5

5

10

5

GAIN

-10 10

-20

16

O

ON

TO LR

11-12TO

(ST3+ST4)

0

-5

5

10

5

GAIN

-10 10

-20

16

O

ON

HF

+15

-15

HM

+15

-15

LM

+15

-15

LF

+15

-15

PRE

AUX

1

+6OO

AUX

2

+6OO

AUX

3

+6OO

AUX

4

+6OO

POST PRE

AUX

5

+6OO

AUX

6

+6

OO

POST

=

BAL

RL

MUTE

PK!

PFL

SIG

10

5

0

5

10

11

12

13

14

15

16

10

11

12

13

14

15

16

1

2

3

4

5

6

7

8

9

1

2

3

4

5

6

7

8

9

FACTORY PRESETS

SINGLE

STAGE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

KARAOKE

PING PONG

CHORUS

SLAP+REV

DLY+REV

ECHO+REV

CH+REV

PH+REV

DUAL

STAGE

ROOM

HALL

PLATE

CHAMBER

CATHEDRAL

ARENA

GATED REV

STAGE

ROOM

HALL

SLAP DLY

DELAY

ECHO

CHORUS

PHASER

ST5 / FX

AUX

1

AUX

2

AUX

3

AUX

4

OO

2

3

5

6

816

/ FX

ST5

LEV

PRE

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

10

5

0

5

10

BANK

SEL

SINGLE FX

DUAL FX AUX5 = 1-8 AUX6 = 9-16

AUX5 = 1-16

+6OO

10

11

124

13

14

157

+6OO

MUTE

+4OO

PHONES

ST6

LEV

OO

0

9+61

TO LR

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

R

L

PFL

PHONES

10

0

AUX 1

1-2

AUX 2

AUX 3

3-4

AUX 4

AUX 5

5-6

AUX 6

ST5

/ FX

ST6

M

ALL UP = LR

ALT LR OUT MONITOR

AB

0

+10

OO

L+R AUX 6

M

RL

10

5

0

5

10

20

30

OO

20

30

OO

20

30

OO

20

30

OO

20

30

OO

20

30

OO

20

30

OO

20

30

OO

20

30

OO

20

30

OO

WZ316:2 and 12:2 User Guide 33

20

30

20

30

OOOO

AUX6

Cue Sheet WZ

Copy and use this page to record your console settings.

MixWizard WZALLEN&HEATH

+48V

PAD

(LINE)

0

20

GAIN

- 10 10

HF

-15

1k

700

500Hz 15k

HM

-15

70

45

35Hz

LM

-15

LF

-15

PRE

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

AUX

5

OO +6

AUX

6

OO

POST

PAN

PK!

SIG

10

5

0

5

10

20

30

OO

30

40

20

GAIN

50

- 10 10

60 40

HPF

HF

+15

-15

3k

1k

4k

700

6k

15k

500Hz

HM

+15

-15

180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

PRE PRE

AUX

1

OO

AUX

2

OO

AUX

3

OO

AUX

4

OO

POST POST POST PRE

AUX

5

OO

AUX

6

+6

OO

POST

=

PAN

L

PK!

PFL

SIG

10

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

0

30

40

60 40

HPF

+15

15k

+15

1k

+15

+6

MUTE MUTEMUTE

40

20

GAIN

50

- 10 10

HF

-15

1k

4k

700

6k

500Hz

HM

-15

70

250

45

400

35Hz

LM

-15

LF

-15

AUX

1

AUX

2

AUX

3

AUX

4

PRE

AUX

5

AUX

6

POST

PAN

RL R

PK!

SIG

GAIN

50

60 40

- 10 10

HPF

HF

+15

3k

4k

6k

700

15k

HM

+15

180

250

400

45

1k

LM

+15

LF

+15

AUX

1

OO

+6

AUX

2

OO

+6

AUX

3

OO

+6

AUX

4

OO

+6

PRE

AUX

5

OO

+6

AUX

6

OO

+6

=

PAN

L

R

PK!

PFL

SIG

10

5

0

5

10

20

30

OO

20

-15

1k

500Hz

-15

70

35Hz

-15

PRE PRE PRE

OO +6

OO

POST

L R

10

5

0

5

10

20

30

OO

16:2

+48V

PAD

(LINE)

0

30

40

20

GAIN

50

60 40

- 10 10

60 40

HPF

HF

+15

3k

4k

6k

15k

HM

+15

180

250

400

1k

LM

+15

LF

+15

AUX

1

AUX

2

AUX

3

AUX

4

POST POST POST PO ST PO ST POST PRE

AUX

5

AUX

6

+6

=

PAN

PK! PK!

SIG

-15

1k

700

500Hz

-15

70

45

35Hz

-15

OO

POST

L

10

5

0

5

10

20

30

OO

- 10 10

HPF

HF

+15

3k

4k

700

6k

15k

HM

+15

180

250

400

1k

LM

+15

LF

+15

AUX

1

+6

AUX

2

AUX

3

+6

AUX

4

+6

PRE

AUX

5

AUX

6

+6 OR+6

=

PAN

R

PFLPFL

SIG

1k

500Hz

45

35Hz

+48V

PAD

(LINE)

30

40

20

GAIN

50

- 10 10

60 40

HPF

HF

+15

-15 3k

4k

6k

HM

+15

-15

180

70

250

400

1k

LM

+15

-15

LF

+15

-15

AUX

1

O

+6

AUX

2

O+6

O

+6

AUX

3

O

+6

AUX

4

O

+6

O

PRE

AUX

5

O+6 O

+6

AUX

6

O

POST

=

PAN

L

MUTEMUTEMUTE

PK!

PFL

SIG

10

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

0

20

-15

1k

700

500Hz

-15

70

45

35Hz

-15

PRE PRE PRE

OO

POST

L R

10

5

0

5

10

20

30

OO

30

HPF

3k

180

=

PFL

40

GAIN

50

60 40

+15

4k

6k

15k

+15

250

400

1k

+15

+6

+6OO

+6

PRE

+6OO

+6

30

40

20

50

60 40

- 10 10

HPF

HF

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15 180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

AUX

1

OO

+6

AUX

2

OO

+6

AUX

3

OO

+6

AUX

4

OO

+6

PRE

AUX

5

OO

+6

AUX

6

OO

POST

=

PAN

L

R+6L R

PK! PK!

PFL

SIG

10

5

0

5

10

20

30

OO

3

16:2

+48V

PAD

(LINE)

0

20

GAIN

- 10 10

HF

-15

1k

700

500Hz

HM

-15

70

45

35Hz

LM

-15

LF

-15

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

AUX

5

OO +6

AUX

6

OO

POST

PAN

SIG

10

5

0

5

10

20

30

OO

30

40

20

GAIN

50

- 10 10

60 40

HPF

HF

+15

-15 3k

3k

1k

4k

700

6k

15k

500Hz

HM

-15

+15

180

70

250

45

400

35Hz

1k

LM

+15

-15

LF

+15

-15

PRE PRE PRE

AUX

1

O

AUX

2

O

AUX AUX

O3O

AUX

O4O

PRE

AUX

5

OO

AUX

6

+6

O

POST

=

PAN

L

MUTEMUTEMUTE

PK!

PFL

SIG

10

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

0

40

GAIN

50

- 10 10

60 40

HPF

HF

+15

4k

700

6k

15k

500Hz

HM

+15

250

45

400

35Hz

1k

LM

+15

LF

+15

AUX

1

+6

AUX

2

+6

3

+6

AUX

4

+6

POST POST POST POST POST PRE

AUX

5

+6 OO

AUX

6

+6 OO

PAN

R L

PK! PK!

SIG

30

40

20

50

60 40

HPF

+15

-15 3k

4k

1k

6k

15k

+15

-15

180

70

250

400

1k

+15

-15

+15

-15

OO

+6

OO

+6

OO

+6

OO

+6

PRE

+6

POST

=

R

PFL PFL

10

5

0

5

10

20

30

OO

0

30

20

GAIN

- 10 10

HF

-15 3k

1k

700

500Hz

HM

-15 180

70

45

35Hz

LM

-15

LF

-15

AUX

1

OO +6

AUX

2

OO +6

AUX

3

OO +6

AUX

4

OO +6

AUX

5

OO +6

AUX

6

OO

POST

=

PAN

L R

SIG

10

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

40

50

60 40

HPF

+15

4k

6k

15k

+15

250

400

1k

+15

PRE

+6

MUTEMUTEMUTE

+48V

PAD

(LINE)

0

30

40

20

GAIN

50

60 40

- 10 10

HPF

HF

+15

-15 3k

4k

1k

6k

700

15k

500Hz

HM

+15

-15

180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

AUX

1

OO

+6

AUX

2

OO

+6

AUX AUX

3

OO

+6

AUX

4

OO

+6

PRE

AUX

5

OO

+6

AUX

6

OO

+6

POST

=

PAN

L

R

PK! PK!

PFL

SIG

10

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

0

30

20

GAIN

- 10 10

HPF

HF

-15 3k

1k

700

500Hz

HM

+15

-15

180

70

45

35Hz

LM

+15

-15

LF

+15

-15

PREPRE PRE

AUX

1

O

O +6

AUX

2

O

O +6

3

O

O +6

AUX

4

O +6

O

AUX

5

O

O +6

AUX

6

O

POST

=

PAN

L

MUTEMUTE

PFL

SIG

10

5

0

5

10

20

30

OO

+48V

PAD

(LINE)

0

40

20

GAIN

50

60 40

- 10 10

60 40

HPF

HF

+15

-15 3k

4k

1k

4k

15k

250

1k

PRE

+6

R

6k

700

6k

15k

500Hz

HM

+15

-15

180

70

250

400

45

1k

35Hz

LM

+15

-15

LF

+15

-15

AUX

1

OO

+6

AUX

2

OO

+6

AUX

3

OO

+6

AUX

4

OO

+6

POST PRE

AUX

5

OO

+6

AUX

6

OO

+6

POST

=

PAN

L

R

MUTE

PK!

PFL

SIG

10

5

0

5

10

20

30

AUX

+48V

1

PAD

OO +6

(LINE)

AUX

0

3030

2

40

20

50

OO +6

AUX

10- 10

4060

3

HPF

HF

-15

1k

700

500Hz

-15

70

45

35Hz

-15

LF

-15

PRE

AUX

1

OO

AUX

2

OO

AUX

3

OO

AUX

4

OO

AUX

5

OO

AUX

6

OO

POST

L

PK!

SIG

10

20

30

OO +6

AUX

4

OO

+15

3k

1+69

4k

6k

10

2

11

3

15k

4

12

5

13

6

+15

180

250

1k

+15

+6

POST PRE

+6

=

R

MUTE

PFL

5

0

5

OOOO

14

7

15

168

400

BANK

SEL

/ FX

ST1

LEV

OO +6

MUTE

PRE

AUX

1

OO

+4

AUX

2

OO +4

AUX

3

OO +4

AUX

4

OO +4

AUX

5

OO +4

AUX

6

OO +4

SINGLE FX

DUAL FX AUX5 = 1-8 AUX6 = 9-16

AUX5 = 1-16

FACTORY PRESETS

SINGLE

STAGE

1

L10R

ROOM

2

HALL

3

PLATE

4

5

CHAMBER

CATHEDRAL

6

7

ARENA

8

GATED REV

9

KARAOKE

10

PING PONG

11

CHORUS

12

SLAP+REV

13

DLY+REV

14

ECHO+REV

CH+REV

15

16

PH+REV

DUAL

STAGE

1

ROOM

2

HALL

3

PLATE

4

CHAMBER

5

CATHEDRAL

6

ARENA

7

GATED REV

8

STAGE

9

10

ROOM

11

HALL

12

SLAP DLY

13

DELAY

14

ECHO

15

CHORUS

16

PHASER

ST2

LEV

L

PFL

1-2

3-4

5-6

OO

5

0

5

10

20

30

OO O

PHONES

OO

0

TO LR

+16

+9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

R

PHONES

10

0

1AUX

2AUX

3AUX

4AUX

5AUX

6AUX

/ FX

ST1

ST2

M

ALL UP = LR

ALT LR OUT MONITOR

AB

0

+10

L+R AUX 6

M

10

5

0

5

10

20

30

O

AUX6

34 WZ316:2 and 12:2 User Guide

Allen and Heath WZ-3 Owners manual

Specifications and Main Features

Frequently Asked Questions

User Manual