MixWizard WZ
USER GUIDE
Publication AP5332
3
14:4:2
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.
WZ314:4:2 User Guide AP5332 Issue 3
Copyright © 2005 Allen & Heath Limited. All rights reserved
ALLEN&HEATH Limited
Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
2 WZ314:4:2 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.
WZ314:4:2 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 WZ314:4:2 User Guide
Introduction
Welcome to the Allen & Heath WZ
MixWizard series of 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
14:4:2, one of the latest generation of the popular
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
Console Connectors............................ 13
Mono Input Channel ............................15
Stereo Input Channel........................... 17
Group/Aux Masters.............................. 18
Master Section..................................... 19
Talkback, Generator and Matrix ..........20
Specifications ......................................21
System Block Diagram ........................23
User Options........................................24
Cue Sheet ............................................ 27
WZ314:4:2 User Guide 5
GAIN
0
-5
5
GAIN
+48V
-10
10
-20
O
O
PAD
(LINE)
0
30
40
20
50
10- 10
4060
HPF
HF
-15
+15
3k
4k
1k
700
6k
500Hz
15k
HM
+15
-15
180
70
250
400
45
35Hz
1k
LM
-15
+15
LF
-15
+15
16
LRTO
TO
(ST1+ST2)
11-12
0
-5
5
GAIN
-10
10
-20
16
O
O
ON
HF
-15
+15
HM
-15
+15
LM
-15
+15
LF
-15
+15
1
EVEN
+6
+6
+6
+6
POST
+6
+6
POST
PRE
R
O
O +6
AUX
2
O
O +6
AUXAUX
3
O
O +6
AUX
4
O
O
+6
POST
AUX
5
O
O +6 OO
AUX
6
O
+6
O
POST
PRE
=
BAL
L
R
ODD
EVEN
MUTEMUTE
PK!
PFL
O1O
AUX
O2O
3
O
O
AUX
4
OO
AUX
5
O
O
AUX
6
O
O
=
PAN
L
ODD
PK!
PFL
0
-5
5
GAIN
-10
10
-20
O
O
16
ONON
MATRIX
LRTO
(ST3+ST4)
TO
13-14
0
-5
GAIN
-10
-20
O
O
ON
GRP
GRP
5
10
16
GRP
HF
GRP
-15
+15
HM
-15
+15
LM
-15
+15
LF
-15
LEVEL
+15
EQ INEQ INEQ IN
AUXAUXAUX
1
OO
+6
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
AUX
6
OO
=
BAL
L
ODD
EVEN
+6
+6
+6
POST
PREPREPRE
+6
+6
POST
PRE
AUX
PAN
R
MUTE
PK!
PFL
GRP
1
2
3
4
L
R
1
1
OO
OO
OO
OO
OO
OO
OO
OO
L
O
+6
O +6
GRP
2
O
+6
O +6
GRP
3
O
+6
O +6
GRP
4
O
+6
O +6
L
O+6
O +6
R
O
+6
O +6
LEVEL
O
+6
O +6
MUTE
AFL
+10
AFL
REV
TO LR
=
R
+6
0
SIG
1
MUTE
MUTE
AFL
2
OO
L R
AUX
0
3
+10
OO
AFL
REV
GRP2GRP1
TO LR
=
PK!PK!
+6
0
SIG
2
MUTE
+10
AFL
REV
TO LR
=
PAN
L
R
+6
0
SIG
3
MUTE
AUX
0
PAN
AFLAFL
MIC
IN
AUX
0
M
2TRK
OO +10
POWER
PFL/AFL
MONITOR
OO + 1 0
6
OO
PHONES
0
2TRK
TO LR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
R
0
L-R
2TRK
0
+10
AFL
REV
FRONT-OF-HOUSE
STAGE MONITOR
0
+10
PK!
+6
0
SIG
6R
MUTE
AFL
GRP/AUX
REVERSE
TALKBACK
TRIM
MIN MAX
OSC/NOISE
TRIM
MINLMAX
PINK NOISE
1kHz OSC
ON
TB SELECT
L-R
GRP 1-4
AUX 1-2
AUX 3-4
AUX 5-6
PRESS TO TALK
AUX
0
PAN
AUX
0
4
5
+10
OO
L
OO
+10 OO
AFL
REV
GRP4GRP3
TO LR
=
PK!PK!
+6
0
SIG
4
MUTE
AFL
REV
LR SUM
MONO
AFL/PFL
LISTEN WEDGE
R
PK!
+6
0
SIG
L
5
MUTE
AFLAFLAFL
LAMP
SIG
10
5
0
L-R
5
1-2
3-4
20
30
OO
SIG
10
5
0
L-R
5
1-2
3-4
20
30
OO
SIG
10
5
0
L-R
5
10
10
5
0
5
5
0
5
10
5
0
5
10
10
5
0
5
5
0
5
10
5
0
5
1-2
3-4
20
30
OO
10
20
30
OO
10
20
30
OO
10
20
30
OO
10
20
30
OO
10
20
30
OO
10
20
30
OO
5 6
6 WZ314:4:2 User Guide
Introducing the MixWizard WZ314:4:2
The Allen & Heath MixWizard series of consoles includes several models. This user guide
describes the WZ
3
14:4:2 4 group model. The 2 bus WZ312:2 and WZ316:2, and the 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 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.
With its 4 band semi-parametric EQ, 4 groups, 6
auxes and stereo main output the WZ
3
14:4:2 is
equally at home mixing live shows, recordings and
corporate events. Tamperproof recessed switches
configure the console for optimum FOH or stage
monitor operation. This ‘dual functionality’,
pioneered by Allen & Heath, gives the console its
unique ability to properly function as Front-of-House
or stage monitor, or handle both at the same time,
ideal as a hard working work horse for hire stock,
touring and installed sound.
The WZ
3
14:4:2 has 10 mono mic/line inputs, 2 fully
featured dual input stereo channels and a 2-track
replay input, a total of 20 inputs to the mix. Of
special note is the addition of a 2 x 6 way matrix
providing a useful multi-purpose output for those
special demands such as recording and broadcast
feeds, delay fills, zone feeds and so on. A host of
top end features are provided including oscillator and
pink noise generator, individual talkback to all
outputs, comprehensive engineer’s metering and
monitoring, a lamp socket, and a dual redundant
backup power supply input.
The base of the console can be removed to access
internal pluggable option jumpers. These configure
user preference for the aux sends, direct outputs and
talkback mic phantom power. The aux and matrix
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 input/output card which allows the
console to be linked to other Allen & Heath consoles.
Other accessories available include the Allen &
Heath MPS12 backup power supply and LEDlamp
gooseneck lamp with built-in dimmer.
WZ314:4:2 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
5
194
RELEASE M4 POZI SCREW EACH SIDE
ROTATE POD AND REFIT SECURING SCREWS
19” Rack Mount
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.
FIT SIDE TRIMS - 4x M4 POZI SCREWS PER SIDE
514
530
CONSOLE WIDTH = 507mm
1
2
58
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. If the side-trims are to be removed,
do not re-fit the (2x M4x10 and 6x M4x8) fixing screws to the unit. Please retain and store
these screws in case the side-trims need to be re-fitted in the future.
8 WZ314:4:2 User Guide
Connecting Power
EXTERNAL DC IN
BACKUP SUPPLY
ONLY USE RECOMMENDED ALLEN&HEATH POWER SUPPLY.
REFER TO USER GUIDE FOR DETAILS.
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 PROTECTIO N AGAINST RISK OF FIRE REPLACE FU SE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER L E FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
DO NOT EXPOSE THIS APPAR ATUS TO RAIN OR MOISTURE.WARNING: TO RED UCE 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
ONI0OFF
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.
WZ314:4:2 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 WZ314:4:2 User Guide
Audio Connections
The MixWizard uses professional grade 3 pin XLR, 1/4" TRS (3 pole) jack and RCA phono
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 plugs may be used to connect audio 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
WZ314:4:2 User Guide 11
ALLEN&HEATH
2-TRACK
SEND
RETURN
L
R
LISTEN WEDGE
MATRIX OUT
A
B
L
R
M
OUT
MONITOR OUT
L
R
INSERT
L
A5
OUT
INSERT
R
A6
OUT
AUX 6
AUX 5 AUX 4 AUX 3 AUX 2 AUX 1
R L
G4
INSERT
OUT
INSERT
OUT
MixWizard WZ314:4:2
INSERT
3
1
A3
A1
OUT
INSERT
4
2
A4
A2
OUT
G2G3 G1
13-14
11-12
L/M
L/M
ST3
ST1
R
R
L/M
L/M
ST4
ST2
R
R
GRP/AUX
XLR OUT
REVERSE
AUX
SENDS
ONLY USE RECOMMENDED ALLEN& HEATH POWER SUPPLY.
- OUT
EXTERNAL DC IN
BACKUP SUPPLY
REFER TO USER GUIDE FOR DETAILS.
10
INSERT
LINE IN
DIRECT
9
INSERT 8
LINE IN
9
8
MIC
MIC
DIRECT
OUT
OUT
910
SYS-LINK OU T ( option ) SYS -LINK IN ( option )
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 CARACTERISTIQUES.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
ENGINEERED IN ENGLAND BY ALLEN & HE ATH LIMITED
INSERT
LINE IN
10
MIC
DIRECT
OUT
21
+OUT
3
7
6
INSERT
INSERT
LINE IN
LINE IN
76
MIC
MIC
DIRECT
DIRECT
OUT
OUT
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK
Serial No.
INSERT 5
LINE IN
5
MIC
DIRECT
OUT
INSERT 4
LINE IN
4
MIC
DIRECT
OUT
FUSE
T630mA L 250V 20mm
WARNING: THIS APPARATUS MUST BE EARTHED
INSERT 3
LINE IN
3
MIC
DIRECT
OUT
SEND
RETURN
AC MAINS IN ~
100 - 240V~ 47-63Hz 4 5W MAX
INSERT
2
INSERT 1
LINE IN
LINE IN
2
1
MIC
MIC
DIRECT
DIRECT
OUT
OUT
12345678
INPUT
+IN
1
2
INSERT
TIP
RING
MIC
- IN
3
TIP +INTIP
LINE
RING -INRING
ONI0OFF
12 WZ314:4:2 User Guide
The Console Connectors
INPUT
+IN
1
2
3
TIP +INTIP
RING -INRING
- IN
MIC
LINE
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
the two stereo channels. ST1 and ST2 feed channel 11-12, ST3 and ST4
feed channel 13-14. All inputs use TRS jacks. ST1 and 3 are
unbalanced, ST2 and 4 are balanced, 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.
INSERT A single 3-pole TRS jack carries the unbalanced insert signal.
SEND
RETURN
INSERT
TIP
RING
Tip = send, Ring = return, Sleeve = common ground. The channel inserts
are post-HPF, pre-EQ and operate at 0dBu. The group (aux) and LR mix
inserts are pre-fader and operate 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:
3
14:4:2 has two stereo inputs for each of
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.
WZ314:4:2 User Guide 13
GROUP (Aux), 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 PFL/AFL engineer’s wedge 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 FOH mode
can provide an additional feed for a mono fill speaker or zone, or be used
as the main feed into a mono PA. In monitor mode
engineer’s wedge monitor speaker with the AFL signal interrupted by PFL.
Group 1 – 4 outputs can be used to provide additional zone or special
feeds, or for multitrack recording. In FOH mode
unconnected where the groups are used as ‘subgroups’ for grouped level
control and/or inserted processing. In monitor mode
output XLRs and inserts become the aux mix masters. This configures the
console with 6 main mix outputs capable of driving the stage monitors.
the M output feeds the
, the M output
they are often left
, the group and LR
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 sufficient interference
rejection when feeding balanced equipment inputs.
The aux sends are typically used to feed monitors, effects devices such as
reverb and delay, and for special mix requirements. In monitor mode
these outputs reverse with the groups and LR connections.
MATRIX OUT A, B Each matrix output 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 matrix outputs are typically used for stereo or mono recording or
broadcast feeds, delay and fill speakers, zone feeds, hearing assist loops
and so on.
2-TRACK IN and OUT These connections are unbalanced on RCA
phono sockets for connection to popular recording and playback devices
such as CD, MiniDisc, computers and tape machines. Nominal line level
is -2dBu. The 2-track SEND always follows the post-fade LR mix
regardless of mode switch configuration. The 2-track RETURN can be
used for monitoring a stereo recording, or as a simple stereo input for
playback of walk-in and background music.
,
MONITOR OUT These impedance balanced line level TRS jack
outputs follow the post-level monitor signal. Separate sockets are
provided for the L and R signals. Use these to feed local speaker or other
in-ear monitor systems.
SYS-LINK II OPTION A blank plate is fitted here as standard. The
3
WZ
14:4:2 Sys-Link II input/output option kit is available from Allen &
Heath. Refer to OPTIONS later in this guide.
14 WZ314:4:2 User Guide
The MONO Input Channel
+48V Switches +48VDC to the channel input XLR for powering
microphones or DI boxes that need phantom power. The power is
current limited through 6k8 ohm resistors to pins 2 and 3.
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
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
microphone or line sources.
GAIN
+48V
PAD
(LINE)
0
30
40
20
50
10- 10
4060
HPF
HF
-15
+15
3k
1k
4k
700
6k
500Hz
15k
HM
+15
-15
180
70
250
45
400
35Hz
1k
LM
WARNING: Do not connect unbalanced sources or cables
input. The XLR
-15
+15
LF
-15
+15
EQ IN
AUX
O1O
+6
AUX
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.
Important note on setting channel levels: Use PFL to set the GAIN
O2O
+6
AUX
3
O
O
+6
AUX
4
OO
+6
POST
PRE
AUX
5
O
O
+6
AUX
6
+6
O
O
POST
PRE
=
PAN
L
R
EVEN
ODD
MUTE
PK!
PFL
SIG
10
5
0
L-R
5
1-2
3-4
20
30
OO
controls for correct signal level through each channel. Use the faders
to balance each signal in the mix. We do not
recommend setting the
faders to ‘0’ and mixing using the GAIN controls.
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
microphone popping, stage noise and tape transport rumble.
EQ A 4-band semi parametric EQ provides independent control of
four frequency bands. Use EQ IN to compare the sound with the
equaliser switched in or out of circuit. 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 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 20 0 500 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
WZ314:4:2 User Guide 15
GAIN
+48V
PAD
(LINE)
0
30
40
20
50
10- 10
4060
HPF
HF
AUX SENDS These rotary controls adjust how much channel
signal is mixed to the aux outputs. Each of the 6 auxes has its own
control. They adjusts from fully off to +6dB boost. Unity gain 0dB is
marked at 3 o’clock position. Auxes 1-4, 5-6 are switched pre/post.
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. More
detail is provided in OPTIONS later in this guide.
-15
+15
3k
1k
4k
700
6k
500Hz
15k
HM
+15
-15
180
70
250
400
45
35Hz
1k
LM
-15
+15
LF
-15
+15
EQ IN
AUX
O1O
+6
AUX
O2O
+6
AUX
3
O
O
+6
AUX
4
OO
+6
POST
PRE
AUX
5
O
O
+6
AUX
6
+6
O
O
POST
PRE
=
PAN
L
R
ODD
EVEN
MUTE
PK!
PFL
Pre-fade aux sends are not affected by the channel fader movements.
These are typically used to feed stage monitors. In most cases users
also prefer that the monitor sends are not affected by inserted
processors or the channel EQ. Post-fade aux sends follow the channel
faders and are typically used to send a proportion of the channel signal
to an effects device such as reverb or delay. Note that post-fade
sends may be preferred when the console is configured in monitor
mode so that the faders become ‘masters’ for all monitor mixes. 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
1 to 4 and 5, 6 are grouped for pre/post switching. You can change
this by repositioning the internal option jumpers.
PAN Positions the channel signal between L/R in the stereo mix,
and odd/even if routed to the groups. 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,
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
headphones and local monitor 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
SIG
10
5
0
L-R
5
1-2
3-4
20
30
OO
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.
ROUTING Press L-R to route the channel signal to the main LR
mix. Press 1-2 or 3-4 to route to the groups. Use PAN to position the
signal between L/R or the odd/even group pairs. To route to a single
group set PAN fully to one side. You can route to L-R and all groups
simultaneously by pressing all switches. Check that you have set
these switches correctly before you start mixing.
FADER Controls the channel level feeding the main LR mix, groups
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 +10dB maximum boost above its normal unity gain 0dB
position.
16 WZ314:4:2 User Guide
The STEREO Input Channel
0
-5
5
GAIN
-10
10
-20
16
O
O
ON
TO
LR
(ST3+ST4)
TO
13-14
0
-5
5
GAIN
-10
10
-20
16
O
O
ON
HF
-15
+15
HM
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(3) 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
-15
+15
LM
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
-15
+15
LF
-15
+15
EQ IN
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
PRE
=
BAL
L
R
ODD
EVEN
MUTE
PK!
PFL
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 (4) 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. Use EQ IN to compare the sound with the equaliser
switched in or out of circuit. 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 so that L feeds
auxes 1, 3 and R feeds auxes 2, 4. The auxes are always post-EQ.
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
SIG
10
5
0
L-R
5
1-2
3-4
detented for quick resetting.
MUTE When pressed the channel signal is turned off. This affects
the feed to the LR mix, groups and pre and post-fade aux sends. The
red indicator lights when the channel is muted.
PFL Press PFL to display the summed L+R pre-fade channel signal
on the main meters and listen to it in the headphones and local monitor
without affecting the main outputs. The red PK indicator half lights to
20
show that PFL has been selected on that channel.
PEAK The red indicator illuminates when the channel pre-fade
30
OO
signal is within 5dB of clipping. This gives you enough warning to
reduce the GAIN control before you hear signal distortion.
ROUTING As the mono channel, routes the left signal to L and odd
groups, right signal to R and even groups.
SIGNAL The green signal presence indicator lights when the
channel pre-fade signal is greater than -12dBu.
WZ314:4:2 User Guide 17
The GROUP / AUX Masters
AUX
PAN
10
10
20
AUX MASTERS
1
0
OO
+10
AFL
adjusts the output level to match external equipment, or trims the
monitor, effect or other send without affecting the mix balance. Up to
+10dB boost is available above the normal 0dB position.
AUX AFL Press AFL to listen to the post-level aux mix in the
Each aux mix has a master level control that
headphones and local monitor without affecting the main outputs.
REV
Note that this becomes the group mix in monitor mode. The console
main meters are interrupted with the aux (group) signal. The yellow
indicator lights to show that AFL has been selected on the master.
Use AFL to check the signal being sent to the monitors, effects or other
destination.
=
GRP1
TO LR
REV These switches reverse the function of the group and aux
R
L
masters. They are recessed to prevent accidental operation. Use a
pen or pointed object to set their position. In the up position (flush with
PK!
+6
0
SIG
1
MUTE
the panel), the group is controlled by the fader and the aux by the
rotary master. This is typical for FOH mode
where the faders are used
for subgroups feeding the main stereo mix. When pressed, the aux
uses the fader as the master and the group is moved to the rotary
control. The aux mix is now presented to rear Group XLR complete
with insert. The group mix appears at the Aux TRS jack. This is used
AFL
for monitor mode
where the auxes are the main mix feeding the stage
monitors. You can select any combination for the FOH and monitor
mode, for example, just 3, 4 giving you two fader subgroups, two
monitor sends on faders, and main LR mix.
Note: The groups always feed the matrix and the subgroup controls
(PAN and GRP TO LR) regardless of mode. This means the group
5
mix can still perform a useful function when the console is configured
in monitor mode.
0
5
PAN Positions the group signal between L an R in the stereo mix
when the GRP TO LR switch is pressed. Using pan you can create
mono or stereo groups positioned as you require in the main mix. For
stereo grouping, set the odd group pan fully to the left, and the even
group pan fully to the right. The centre position (mono image) is
detented for quick resetting. Note that the group mix always feeds
these subgroup controls regardless of FOH or monitor mode selected.
METER A 4 LED bar meter displays the post-fade group signal
(FOH mode), or aux signal (monitor mode, REV pressed).
30
OO
affects the feed to the output XLR, LR and matrix. The red indicator
lights when the channel is muted.
GROUP AFL Press AFL to listen to the post-fade group mix in the
headphones and local monitor without affecting the main outputs.
Note that this becomes the aux mix in monitor mode. The console
main meters are interrupted with the group (aux) signal. The yellow
indicator lights to show that AFL has been selected on that master.
GROUP FADER Controls the group mix output level. Note that it
MUTE When pressed the group (aux) signal is turned off. This
becomes the aux mix master in monitor mode (REV pressed). The
fader provides +10dB maximum boost above its normal unity gain 0dB
position.
18 WZ314:4:2 User Guide
The Master Section
MIC
IN
TALKBACK
TRIM
OSC/NOISE
TRIM
PINK NOISE
1kHz OSC
GRP 1-4
AUX 1-2
AUX 3-4
AUX 5-6
MUTE
MIN MAX
MINLMAX
ON
TB SELECT
L-R
PRESS TO TALK
AUX
5
OO
REV
LISTEN WEDGE
AFL
LR SUM
MONO
AFL/PFL
PK!
+6
0
SIG
5
L
AFLAFL
MUTE
AUX
0
+10 OO
M
2TRK
OO +10
POWER
PFL/AFL
MONITOR
OO +1 0
6
OO
PHONES
0
2TRK
TO LR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
R
0
L-R
2TRK
0
+10
AFL
REV
FRONT-OF-HOUSE
STAGE MONITOR
0
+10
PK!
+6
0
SIG
6
R
MUTE
AFL
GRP/AUX
REVERSE
AUX 5 and 6 Masters
These function in the same way as
described for auxes 1 to 4. The REV switch reverses the AUX5 mix
with L, and AUX6 mix with R for operation in monitor mode
. When
selected, the aux signals are presented to the L and R XLR outputs
complete with their inserts. The LR mix swaps on to the Aux TRS jack
outputs. Note that the LR mix always feeds the matrix regardless of
mode selected.
LR Masters Separate faders control the main mix L and R output
levels. They provide +10dB maximum boost. Each master includes a
4 LED bar meter, an AFL switch and a MUTE switch so that L and R
can be separately monitored and muted. This is most useful in monitor
mode where these masters carry the AUX5 and AUX6 signals.
M Master A rotary control adjusts the level of the signal to the M
output XLR. The source is selected using the mode switch above the
control. This is recessed to prevent accidental operation. Use a pen
or pointed object to set the position. In the up position (flush with the
panel), the post-fade L and R mix is summed to provide a mono
source. Use this in FOH mode
to feed a mono PA, fill, delay or zone
speakers, or even a mono broadcast or recording send.
In monitor mode
, press the switch to create an engineer’s monitor
wedge feed from the AFL/PFL mix. It is common to use a wedge
speaker of the same type used on stage to listen to and check the
various monitor mixes being sent to the performers. Together with the
group/aux REV function, the WZ
3
14:4:2 can be configured as a
compact yet fully featured monitor console.
Console Monitor
local monitoring is provided.
Select either LR or 2-track return as the default source using the L-R /
2TRK switch. Pressing PFL or AFL elsewhere on the console
automatically overrides the current monitor source with the signal from
the channel or mix selection. The red PFL/AFL active indicator
illuminates and the console meters display the active signal.
Comprehensive engineer’s headphones and
The console main meters provide 12 LED indicators to accurately
10
10
10
5
0
5
5
0
5
10
display the signal level of the selected monitor source. Reduce the
signal level if the red ‘+16’ peak indicator lights. For optimum
performance the signals meter an average ‘0’ with loudest peaks
reaching around ‘+6’.
Use the MONITOR level control to adjust the level in the headphones
and local speaker monitor. We recommend you use closed ear
headphones in the range 30 to 600 ohms designed for live sound
20
30
20
30
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
OO
OO
56
at high volume. Continued exposure to high volume sound can
cause frequency selective or wide range hearing loss.
WZ314:4:2 User Guide 19
TALKBACK, SIGNAL GENERATOR and MATRIX
MIC
IN
TALKBACK
TRIM
OSC/NOISE
TRIM
PINK NOISE
1kHz OSC
GRP 1-4
AUX 1-2
AUX 3-4
AUX 5-6
MIN MAX
MINLMAX
ON
TB SELECT
L-R
PRESS TO TALK
2TRK
OO +10
POWER
PFL/AFL
MONITOR
OO +10
TALKBACK
Individually assignable talkback is available to all the
main outputs. Plug in a suitable cable or gooseneck microphone. A
good quality dynamic or condenser vocal microphone is
PHONES
recommended. Note that +48V phantom power is available at the XLR
as standard. If you prefer, this can be disabled by repositioning an
internal jumper link.
2TRK
TO LR
0
WARNING: Do not connect unbalanced sources or cables
to inputs with phantom power selected. To avoid loud clicks do
not press the TALK switch when plugging or unplugging the
talkback microphone.
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
R
First select the source you wish to talk to. You can select the auxes in
pairs, useful for communicating with the performers on stage. The four
groups are selected simultaneously, ideal for identifying a multitrack
recording. You can also talk to LR, ideal for announcements to the
audience. Once selected, press TALK to route the mic to the required
destination. Adjust the talkback level using the TRIM control below the
TB mic XLR.
L-R
2TRK
0
SIGNAL GENERATOR / PINK NOISE Press to select either
pink noise (up position) or a 1kHz sine wave tone as the test source.
Start with the trim control turned fully down. The generator ON switch
is rece ssed to prevent accidental operation. Press this with a pen or
pointed object. The green indicator lights to warn that the generator is
enabled.
MATRIX
GRP
1
GRP
2
GRP
3
GRP
4
LEVEL
L
R
OO
+6
OO
+6
OO
+6
OO
+6
OO
OO
+6
OO
+6
MUTE
AFL AFL
GRP
1
GRP
2
GRP
3
GRP
4
L
R
LEVEL
O
O +6
O
O +6
O
O +6
O
O +6
O+6
O +6
O
O +6
O
O +6
MUTE
The generator signal is routed to any source selected on the switch
bank above the TALK switch. Use the signal to test the loudspeaker
system and line up connected equipment. Pink noise is useful for
quickly testing the full range frequency operation and phasing/polarity
of loudspeakers. The 1kHz tone is better suited to lining up equipment
with its steady reading on the meters.
WARNING: We recommend you turn off the signal
generator once you have finished using it to test and line up your
system. This will prevent accidental operation during the show.
MATRIX The matrix provides 2 additional console outputs. It is a
‘mixer within a mixer’ taking its source from the groups and main mix.
It can be used to provide duplicate main outputs or to create new
mixes from the main outputs. The controls are positioned conveniently
away from the live performance controls to avoid accidental operation.
Each of the 4 groups, L and R can be mixed independently into the
matrix. The source is derived post-fader. Adjust the level clockwise
from fully off to +6dB boost. Use the LEVEL control to adjust the
matrix output level from fully off to a maximum boost of +6dB. The
‘0dB’ positions are marked. The matrix output can be muted. The
post-level signal can be monitored using the AFL switch.
Use the matrix to create special mixes such as delay, fill and zone
speakers, recording and broadcast feeds, hearing assist loop and so
on.
20 WZ314:4:2 User Guide
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
Mute shutoff >100dB
Inter channel >90dB
Noise, rms 22Hz to 22kHz Mic EIN -128dB
Residual output noise < -96dBu (-100dB S/N)
LR unity fader mix noise < -84dBu (-88dB S/N)
Group unity fader noise < -90dBu (-94dB 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)
WZ314:4:2 User Guide 21
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
Talkback mic XLR balanced pin 2 hot Sensitivity -50 to -10dBu
Phantom power Internal jumper +48V
2-track return RCA phono, unbalanced >4k ohm, -8 to +4dBu
2-track send RCA phono, unbalanced < 1k ohm, -2dBu
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
Group (aux) out 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
Matrix out TRS impedance balanced <75 ohm, -2dBu, +21dBu max
Electronic balance option <75 ohm, +4dBu, +26dBu max
Headphones TRS, tip L, ring R, 30 to 600 ohm headphones recommended
Monitor output TRS impedance balanced <75 ohm, -2dBu, +21dBu max
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
22 WZ314:4:2 User Guide
WZ3 14:4:2
48V
GAIN
MIC
2= +
BALANCED TIP= +
LINE (PAD)
-20dB
+
-
LINE
INSERT
0dBu
TIP= SEND
RING= RETURN
MIC/LINE INPUTS
DIRECT OUT
0dBu
IMPEDANCE BALANCED
L/M
INPUT ST1(3)
GAIN
R
+
L/M
GAIN
INPUT ST2(4)
+
R
-
DUAL STEREO INPUTS
48V PHANTOM POWER
ON
OFF
TALKBACK
MIC IN
2= +
BALANCED
PHANTOM POWER
HPF
TIP= +
RING= -
CH
ON
LR
ON
GAIN
+
+
-
4 BAND EQUALISER
HF
HM
LM
LF
PRE-FADE
POST-FADE
4 BAND EQUALISER
HF
HM
LM
LF
1KHz OSC
PINK NOISE
PK
SIG
EQ IN
FADER
POST-EQ
P = PRE-FADE
S = SWITCHED
A = POST-FADE
PK
SIG
SUM
B
A
+
PRE-I NSERT, PRE-EQ
C
D
EQ IN
PRE-FADE
JUMPER OPTIONS KLIJGHEFCDAB
P = PRE-FADE
S = SWITCHED
A = POST-FADE
LEVEL
PFL
MUTE
FEJUMPER GH
1AUX 2
PFL
MUTE
SM
+ +
CN4
P
AUX
1
ON
354
FADER
MONO/STEREO AUX
S2SP PSP
3
DIM
PAN
PRE PRE
IJKL
PAN
POST-FADE
SM
CN5
PRE PRE
S5S4A A S
PRESS TO TALK
AUX 1-6
PFLLRGRP 1-4
SYS-LINK CONNECTION
SL
AFL
GRP/AUX REV
SL
L-R
1-2
AUX MIX
3-4
GRP MIX
SL
SSASP ASP
6
AUX
+10dB boost
GROUPS / AUX 1-4
INSERT
+10dB boost
-2dBu
FADER
AFL
MUTE
+4dBu BAL OPTION
METER
IMPEDANCE BALANCED
BAL
2 = +
TO MATRIX
PAN
AUX OUT
TIP= +
-2dBu
GROUP OUT
+4dBu
L-R
AFL
LR/AUX REV
SL
AUX MIX
L(R) MIX
L-R
SL
1-2
AUX
+10dB boost
L(R) / AUX 5(6)
FADER
+10dB boost
INSERT
-2dBu
AUX OUT
TIP= +
+4dBu BAL OPTION
AFL
METER
MUTE
IMPEDANCE BALANCED
L(R) OUT
BAL
2 = +
-2dBu
+4dBu
3-4
LEVEL
+10dB boost
MATRIX OUT
IMPEDANCE BALANCED
TO MATRIX, MONO, MONITOR, 2TRK
M OUT
BAL
2 = +
+4dBu
MONITOR
L
TIP= +
R
MONITOR
FROM GRP,L,R
GRP1
GRP2
FROM L,R
WEDGE MODE
SUM
+
MONO
GRP3
MATRIX MIX
FROM PFL/AFL
LEVEL
+10dB boost
MUTE
AFL
+4dBu BAL OPTION -2dBu
GRP4
6
L
R
MATRIX A(B)
MONITOR OUT
L
L-R
GRP1-4
AUX1-2
AUX3-4
AUX5-6
FROM L,R
PFL/AFL DC
PFL/AFL MIX
2-TRACK
SEND RETURN
-2dBu
SL
SL
TO WEDGE MODE
2TRK TO LR
LR/2-TRK
PFL/AFL
IMPEDANCE BALANCED
PHONES
OUT
TIP = LEFT
RING = RIGHT
R
WZ314:4:2 User Guide 23
User Options
REMOVE 4x M4 POZI SCREWS PER SIDE
REMOVE SIDE TRIMS
REMOVE M4 POZI SCREW PER SIDE
ROTATE POD
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 3x M3 TORX SCREWS
ROTATE POD
REMOVE 4x M3 TORX SCREWS
LIFT OFF BASE
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.
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.
AUX5
BALANCE
TB MIC
+48V
MASTER L
AUX6
BALANCE
MASTER R
MONO INPUT STEREO INPUT
AUX PRE/POST FADER
DIRECT OUT PRE/POST FADER
AUX PRE/POST INSERT/EQ
AUX STEREO/MONO
AUX PRE/POST FADER
MATRIX AB
BALANCE
AUX 1-4
BALANCE
GROUP
24 WZ314:4:2 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
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
compressors affecting the monitor mix. Move the
ABCDEFGHIJK
PRPOPRPOSWPRSWPRSWPOSWPO
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-
ABCDEFGHIJK
PRPOPRPOSWPRSWPRSWPOSWPO
fader. This is common for live recording to
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 1-4 = switched, Aux 5-6 = switched.
ABCDEFGHIJK
PRPOPRPOSWPRSWPRSWPOSWPO
You can change these settings 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. We
recommend you only change these settings if
absolutely necessary.
PR=PRE
PO=POST
SW=SWITCH
L
STEREO CH - MONO/STEREO AUXES
CN5
CN4
POST-FADE AUXES
STEREOMONO
PRE-FADE AUXES
STEREOMONO
L MASTER - TALKBACK +48V
JP1 JP2
PHANTOM POWER
GND 48V
ABCDEFGHIJK
SWPRSWPRSWPRSWPRSWPOSWPO
1
AUX23456
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.
Talkback mic +48V The factory default is
+48V phantom power turned on for the front panel
talkback mic XLR input. The option jumper is behind
the TB mic XLR on the L Master board. If you prefer,
phantom power can be disabled by repositioning the
jumper to the GND position.
Note that phantom power should not harm nonpowered dynamic microphones as long as balanced
connections are used.
WARNING: Do not connect unbalanced
sources or cables to inputs with phantom power
selected. To avoid loud clicks do not press the
TALK switch when plugging or unplugging the
talkback microphone.
WZ314:4:2 User Guide 25
MATRIX AB
BALANCE
AUX 1-4
BALANCE
GROUP
SLAVE CONSOLE
SYS-LINK II OUTPUT
MASTER L
AUX5
BALANCE
WZ314:4:2
SYS-LINK II INPUT
MASTER R
AUX6
BALANCE
Output balance options The aux and matrix
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
For each aux master, snip the legs of the two zero
ohm resistor links next to the IC socket. 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.
MASTER CONSOLE
SYS-LINK II OUTPUT
WZ314:4:2 OR OTHER A&H CONSOLE
37WAY CABLE
SYS-LINK II INPUT
Sys-Link II input/output option
A blank
plate is fitted here as standard. This may be
replaced with an optional card which provides the
console inputs, outputs and PFL system on two
37way D connectors for linking to other Allen &
Heath consoles already fitted with Sys-Link II. The
3
WZ
14:4:2 can become an input channel expander
(slave) or have its number of input channels
expanded (master) when linked to other consoles.
A 37way shielded multi-core cable carries the
MixWizard balanced mix signals and PFL system to
or from the other console.
IMPORTANT: Note that you need an adapter cable
if you are connecting Sys-Link II (Version 2) to the
older Sys-Link I (Version 1) standard.
For full details please refer to the Sys-Link option
Applications Note AP5738 and Fitting Instructions
AP5737.
26 WZ314:4:2 User Guide
Cue Sheet WZ
ALLEN&HEATH
+48V
+48V
PAD
PAD
(LINE)
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
=
PAN
L
ODD
PK!
PFL
SIG
10
5
0
L-R
5
1-2
3-4
(LINE)
0
30
40
40
20
GAIN
50
4060
10- 10
HPF
HPF
HF
+15
-15
+15
3k
1k
4k
4k
6k
700
15k
500Hz
15k
HM
+15
+15
-15
180
250
70
250
45
400
1k
35Hz
1k
LM
+15
-15
+15
LF
+15
-15
+15
1
OO
+6
AUX
2
+6
OO
AUX
3
+6
OO
AUX
4
+6
OO
POST
POST
PREPRE
AUX
5
O6O
+6
AUX
+6+6
OO
POST
POST
PRE
PRE
=
PAN
R L
R
L
EVEN
EVEN
ODD
PK!
PFL
SIG
10
5
0
L-R
5
1-2
3-4
MixWizard WZ
+48V
PAD
(LINE)
0
30
40
20
GAIN
50
50
10- 10
4060
4060
HPF
HF
-15
+15
3k
1k
4k
700
6k
6k
500Hz
15k
HM
+15
-15
180
70
250
45
400
400
35Hz
1k
LM
-15
+15
LF
-15
+15
AUXAUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST
PRE
AUX
5
OO
+6
AUX
6
+6
OO
POST
PRE
=
PAN
R
ODD
EVEN
MUTEMUTEMUTE
PK!
PFL
SIG
10
5
0
L-R
5
1-2
3-4
3
14:4:2
Copy and use this page to record your console settings.
3
14:4:2
+48V
+48V
+48V
PAD
PAD
(LINE)
40
4060
HPF
+15
4k
15k
+15
250
400
1k
+15
+15
+6
+6
+6
+6 O
POST
POST
PRE
R
EVEN
PAD
(LINE)
0
0
30
30
40
20
GAIN
50
HF
6k
700
HM
45
LM
LF
AUXAUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PK!
SIG
L-R
1-2
3-4
20
GAIN
50
10- 10
4060
10- 10
HPF
HF
-15
+15
-15
3k
1k
1k
4k
6k
700
500Hz
15k
500Hz
HM
+15
-15
-15
180
70
35Hz
-15
-15
O
O
O
O
O
O
O
O+6
O
O
O
L
ODD
10
5
0
5
180
250
70
45
400
1k
35Hz
LM
+15
-15
LF
+15
-15
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
+6
OO
POST
AUX
5
O
+6
AUX
6
+6+6
OO
POST
PRE
=
=
PAN
R
L
ODD
EVEN
MUTEMUTEMUTE
PK!
PFL
PFL
SIG
10
5
0
L-R
5
1-2
3-4
(LINE)
0
0
30
30
40
20
10- 10
-15
1k
-15
70
-15
-15
OO +6
OO +6
OO +6
OO +6
OO +6
OO
L
ODD
10
5
0
5
20
GAIN
50
4060
10- 10
HPF
HF
+15
-15
3k
3k
1k
4k
6k
700
15k
500Hz
HM
+15
-15
180
180
250
70
45
400
1k
35Hz
LM
+15
-15
LF
+15
-15
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
POST
AUX
5
OO
AUX
6
+6
OO
POST
PRE
=
=
PAN
L
R
EVEN
ODD
PK!
PFLPFL
SIG
10
5
0
L-R
5
1-2
3-4
GAIN
HF
700
500Hz
HM
45
35Hz
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PK!
SIG
L-R
1-2
3-4
+48V
PAD
(LINE)
0
40
20
GAIN
50
10- 10
4060
HPF
HF
-15
+15
3k
1k
4k
700
6k
500Hz
15k
HM
+15
-15
250
70
45
400
1k
35Hz
LM
+15
-15
LF
+15
-15
1
+6
OO
AUX
2
+6
OO
AUX
3
OO
+6
AUX
4
OO
+6
POST
AUX
5
+6O
OO
AUX
6
+6
OO
POST
PRE
PAN
R
L
ODD
EVEN
PK!
SIG
10
5
0
L-R
5
1-2
3-4
+48V
+48V
PAD
PAD
(LINE)
(LINE)
0
20
10- 10
-15
1k
500Hz
-15
70
45
35Hz
-15
-15
OO +6
OO +6
OO +6
OO
OO +6
OO
L
ODD
10
0
30
40
20
GAIN
50
4060
HPF
HF
+15
-15
3k
1k
4k
6k
700
15k
500Hz
HM
+15
-15
180
250
70
45
400
1k
35Hz
LM
+15
-15
LF
+15
-15
AUX
3
O
AUX
4
+6
POST
PREPREPREPREPREPRE
AUX
5
O
AUX
6
O
+6+6
POST
PRE
=
PAN
L
R
ODD
EVEN
MUTEMUTEMUTE
PK!
PFL
SIG
10
30
40
GAIN
50
4060
HPF
HF
+15
3k
4k
6k
700
15k
HM
+15
180
250
400
1k
LM
+15
LF
+15
EQ IN EQ IN EQ IN
AUXAUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
AUX
5
+6
AUX
6
POST
PRE
=
PAN
R
EVEN
PK!
PFL
SIG
5
0
L-R
L-R
5
1-2
1-2
3-4
3-4
-5
GAIN
+48V
-10
-20
O
PAD
(LINE)
30
40
50
10- 10
4060
HPF
11-12
TO
-5
GAIN
-10
-20
O
+15
3k
4k
ON
6k
HF
15k
-15
HM
+15
180
250
400
-15
1k
LM
-15
+15
LF
+15
-15
1
O1O
+6
AUX
2
O2O
+6
AUXAUX
3
O
+6
AUX
4
OO
+6
POST
AUX
5
O
+6
AUX
6
+6
O
POST
PRE
=
BAL
R
ODD
EVEN
PK!
PFL
SIG
5
0
L-R
5
1-2
3-4
0
5
10
16
O
TO
LR
(ST1+ST2)
TO 13-14
0
5
10
O
16
+15
+15
+15
+15
EQ IN EQ INEQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN
O
O +6
O
O +6
O
O +6
O
O
+6
POST
O
O +6 OO
O
+6
O
POST
PRE
=
L
R
EVEN
MUTEMUTE
PFL
10
5
0
5
0
-5
GAIN
-10
-20
16
O
O
ONON
TO
LR
(ST3+ST4)
0
-5
GAIN
-10
-20
O
O
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
+15
-15
AUXAUXAUX
1
+6
OO
AUX
2
+6
OO
AUX
3
+6
OO
AUX
4
OO
+6
POST
PREPREPRE
AUX
5
+6
AUX
6
OO
+6
POST
PRE
=
BAL
L
ODD
EVEN
PK!
PFL
SIG
10
5
0
L-R
5
1-2
3-4
LAMP
5
10
MATRIX
GRP
GRP
1
1
OO
O
+6
5
GRP
10
GRP
GRP
LEVEL
AUX
PAN
R
O +6
GRP
2
2
OO
O
+6
O +6
GRP
3
3
OO
O
+6
O +6
GRP
4
4
OO
O
+6
O +6
L
L
OO
O+6
O +6
R
R
OO
O
+6
O +6
LEVEL
OO
O
+6
O +6
MUTE
MUTE
AFL
AFL
AUX
AUX
0
1
OO
AFL
REV
TO LR
=
L
+6
0
SIG
1
MUTE
0
2
3
OO
OO
+10
+10
AFL
REV
REV
GRP2GRP1
TO LR
=
=
PAN
PAN
R
L R
L
PK!PK!
+6
0
SIG
2
MUTE
AFLAFLMUTE
10
10
5
0
5
10
10
5
5
0
0
5
5
10
10
MIC
IN
TALKBACK
TRIM
MIN MAX
OSC/NOISE
TRIM
MINLMAX
PINK NOISE
1kHz OSC
ON
TB SELECT
L-R
GRP 1-4
AUX 1-2
AUX 3-4
AUX 5-6
PRESS TO TALK
AUX
AUX
0
0
4
5
+10
+10
OO
AFL
TO LR
PAN
R
+6
0
SIG
3
MUTE
10
10
OO
AFL
REV
REV
GRP4GRP3
TO LR
=
LISTEN WEDGE
R
L
PK!PK!
+6
0
SIG
4
MUTE
10
5
5
0
0
5
5
10
LR SUM
AFL/PFL
PK!
+6
SIG
L
+10 OO
AFL
MONO
0
5
MUTE
AFLAFLAFL
0
AUX
M
10
5
0
5
10
MONITOR
6
2TRK
OO +10
POWER
PFL/AFL
OO +1 0
OO
PHONES
2TRK
TO LR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
R
L-R
2TRK
+10
AFL
REV
FRONT-OF-HOUSE
STAGE MONITOR
+10
PK!
+6
0
SIG
6
R
MUTE
AFL
0
0
0
0
GRP/AUX
REVERSE
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
OO
OO
OO
OO
OO
OO
30
OO
OO
20
30
30
OO
OO
20
30
OO
20
30
OO
20
20
30
30
OO
OO
WZ314:4:2 User Guide 27
20
20
20
20
30
30
30
30
OO
OO
OO
OO
5 6
Loading...