MixWizard WZ320S
USER GUIDE
Publication AP6318
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.
WZ320S User Guide AP6318 Issue 1
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 WZ320S 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.
WZ320S 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 WZ320S 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
20S, 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
Connector Pinouts and Cables ........... 10
Audio Connections.............................. 11
Connector Panel Layouts.................... 12
EQ curves ............................................15
Stereo Input Channel........................... 17
EXT1 and EXT2 Inputs......................... 18
Master Section..................................... 19
AB Output ............................................20
Gain Structure...................................... 21
Application Notes ................................22
Specifications ......................................24
Part Numbers....................................... 25
System Block Diagram ........................26
User Options – Channel Cards ...........28
Console Connectors ........................... 13
Wiring Inserts....................................... 13
Mono Input Channel............................ 15
Sys-Link V2 Option ..............................29
User Options – AB Relay switch..........30
Cue Sheet ............................................ 31
WZ320S User Guide 5
GAIN
- 10 10
HF
HM
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
LAMP
0
-5
+48V
PAD
(LINE)
30
40
0
20
50
40
60
HPF
GAIN
0
- 10 10
+48V
PAD
(LINE)
30
40
20
50
40
60
HPF
HF
-15
+15
3k
1k
4k
700
6k
500Hz
15k
+15
-15
180
70
250
45
400
35Hz
1k
-15
+15
-15
+15
EQ IN
+6
+6
+6
+6
POST
PRE
+6
+6
POST
PRE
=
-15
+15
3k
1k
4k
700
6k
500Hz
15k
HM
+15
-15
180
70
250
45
400
35Hz
1k
LM
-15
+15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
PAN
GAIN
A
ON
TO CHANNEL
GAIN
B
ON
HM
LM
AUX
AUX
AUX
AUX
AUX
AUX
BAL
5
-10
10
-20
16
TO
LR
0
-5
5
-10
10
-20
16
HF
-15
+15
-15
+15
-15
+15
LF
-15
+15
EQ IN
1
+6
2
+6
3
+6
4
+6
POST
PRE
5
+6
6
+6
POST
PRE
=
GAIN
-10
-20
A
ON
TO CHANNEL
GAIN
-10
-20
B
ON
HF
HM
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
0
-5
16
TO
LR
0
-5
16
-15
+15
-15
+15
-15
+15
-15
+15
EQ IN
+6
+6
+6
+6
POST
PRE
+6
+6
POST
PRE
=
AUX
5
5
1
10
+6
AUX
2
+6
AUX
3
+6
AUX
4
10
EXT2
LEV
+6
EXT1
10
5
0
5
10
PHONES
0
TO LR
RL
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
20
30
POWER
PFL
PHONES
10
STEREO 1-2
STEREO 3-4
STEREO 5-6
0
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
EXT1
EXT2
M
ALL UP = LR
ALT LR OUT
MONITOR
AB
0
AUX
1
+4
AUX
2
+4
AUX
3
+4
AUX
4
+4
AUX
5
+4
AUX
6
+4
RLRL
MUTE
PK!
PFL
SIG
10
5
0
5 5
10
20
30
MUTE
PK!
PFL
SIG
10
5
0
10
20
30
LR LR
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
PK!
SIG
10
5
0
5
10
20
30
MUTE
PFL
LR
10
5
0
5
10
20
30
10
5
0
5
10
20
30
6 WZ320S User Guide
+10
L+R
AUX 6
M
Introducing the MixWizard
The Allen & Heath MixWizard series of consoles includes several models. This user guide
describes the stereo input WZ
3
20S model. The WZ316:2, WZ312:2 and WZ314:4:2 consoles
are described in separate publications. For further information on the MixWizard series
please refer to the Allen & Heath web site.
3
The MixWizard WZ
20S is a compact console
designed for professional live sound and general
purpose 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 WZ
3
20S provides 4 mono mic/line channels, 8
full feature dual stereo input channels and 2 stereo
return inputs, a total of 44 connections and 22
sources to the mix. It provides a compact solution for
mixing many stereo sources, for example small
broadcast studios, keyboard or effects sub mixing or
studio production. The two stereo inputs feeding
each strip mix together into the channel, or may be
split so that one feeds the channel and the other
routes directly to the main mix.
All channels feature a 4 band EQ (semi-parametric
with high pass filter on the mic/line channels) and 6
aux sends with combinations of pre/post switching
and 100mm faders. Also featured are a 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 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.
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 AB output features a relay which can be wired to
a switch to isolate its output, for example to mute a
studio monitor when its local mic channel is live.
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.
Replacement faders with fitted switches are available
for fader start and mic live mute applications.
Other accessories available include the Allen &
Heath MPS12 backup power supply and LEDlamp
gooseneck lamp with built-in dimmer.
WZ320S 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 WZ320S User Guide
Connecting Power
EXTERNAL DC IN
BACKUP SUPPLY
ONLY USE RECOMMENDED ALLEN&HE ATH 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 PROTECTION AGAINST RISK OF FIRE
ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
REFER SERVICING TO QUALIFIE D SERVICE PERSONNEL.
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
REPLACE FUSE WITH SAME TYPE AND RATING.
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RIS K OF ELECTRIC SHOCK
Serial No.
FUSE
T630mA L 250V 20mm
WARNING: THIS APPARATUS MUST BE EARTHED
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
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.
WZ320S 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 WZ320S 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
WZ320S User Guide 11
ALLEN&HEATH
INSERT
EXT2 EXT1IN IN
L/M L/M
L
R
R
L
R
M
R
AB OUT
A
B
XLR OUT
2
1
+OUT
3
- OUT
6AUX SENDAUX 5 AUX 4 AUX 3 AUX 21AUX
SYS-LINK OUT ( option )
19-20 17-18 15-16 13-14 11-12 9-10 7-8 5-6
L/M
A
R
L
R
L/M
A
R
BB BBBBBB
L
R
L/M
AAAAAA
R
L
R
LINE IN/OUT
TIP +
RING -
EXTERNAL DC IN
BACKUP SUPPLY
ONLY USE RECOMMENDED ALLEN&HEATH POWER SUPPLY.
REFER TO USER GUIDE FOR DETAILS.
STEREO LINE IN
L/M
R
L
R
L/M
R
L
R
L/M
R
L
R
L/M
R
L
R
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
MixWizard WZ320S
2
LINE IN
DIRECT
1INSERTINSERT 2INSERT 3INSERT 4
1
MIC
OUT
1
INPUT
+IN
1
MIC
- IN
3
TIP +INTIP
LINE
RING -INRING
ONI0OFF
L/M
ININININININININ
R
L
R
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK
LINE IN
4
Serial No.
DIRECT
MIC
OUT
RETURN
ININININININININ
LINE IN
3
MIC
DIRECT
4
INSERT
SEND
TIP
RING
FUSE
T630mA L 250V 20mm
LINE IN
2
MIC
DIRECT
OUT
3
OUT
2
REMOTE ( user conne ctions )
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
WARNING: THIS APPARATUS MUST BE EARTHED
12 WZ320S User Guide
The Console Connectors
2
TIP +INTIP
RING -INRING
INPUT A
INPUT
1
3
+IN
- 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.
INPUT
+IN
1
2
- IN
3
STEREO LINE IN The WZ
eight dual stereo channels. The A inputs are on unbalanced TRS jacks,
the B inputs are on balanced XLR. The L/M jack input is normalled
through the R connection so that a mono source can be used when
3
20S has two stereo inputs for each of the
nothing is plugged into the R jack socket.
L/M
R
EXT 1 and 2 LINE IN An additional two stereo returns are provided;
EXT1 (balanced) and EXT2 (unbalanced) using 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.
SEND
RETURN
INSERT
TIP
RING
INSERT A single 3-pole TRS jack carries the unbalanced mic/line insert
signal. 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.
WZ320S 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 a master console or 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 recording, fill
speaker or zone, or be used as a mono sub mix feed into a master
console or 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
engineer’s 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. A switch option is available to
isolate these outputs using built-in relays, for example for mic live ‘on-air’
lamp switching.
The unique AB output feature provides the MixWizard with a host of
possibilities… independent 2-track recording feed, broadcast feed, studio
booth monitor, 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, sub mixing to another console, and for special
mix requirements.
SYS-LINK II OPTION A blank plate is fitted here as standard. The
Sys-Link II output option kit is available from Allen & Heath. This lets the
WZ320S become a ‘slave’ console expanding the number of inputs on
another ‘master’ console using just one connecting cable. Refer to
OPTIONS later in this guide.
REMOTE (USER CONNECTIONS) A blank plate is fitted here as
standard. A 25-pin D-type connector may be fitted here and custom wired,
for example to interconnect the fader start switching option or for remote
switching of the AB output relay.
14 WZ320S User Guide
The MONO Input Channel
GAIN
HM
LM
+48V
PAD
(LINE)
30
40
0
20
50
10- 10
4060
HPF
HF
-15
+15
3k
1k
4k
700
6k
500Hz
15k
+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.
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
-15
+15
180
70
250
400
45
35Hz
1k
-15
+15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
PAN
RL
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
input. Release the switch to select the XLR MIC
input. The XLR
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 up to +30dBu.
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.
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 microp
hone 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
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
WZ320S User Guide 15
GAIN
+48V
PAD
(LINE)
30
40
0
20
50
10- 10
4060
HPF
HF
-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
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
PAN
RL
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
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.
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 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,
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 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.
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
+10dB maximum boost above its normal unity gain 0dB position.
A switched fader option is available. This replaces the standard
channel fader with a high quality dual rail Alps K-fader with fitted microswitch for on-air lamp or equipment start switching. See OPTIONS.
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
setting the faders to ‘0’ and mixing using the GAIN controls.
recommend
AUX SENDS These rotary controls adjust how much channel
16 WZ320S User Guide
The STEREO Input Channel
GAIN
-10
-20
A
ON
TO CHANNEL
GAIN
-10
-20
B
ON
HF
HM
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
PK!
SIG
0
-5
16
TO
LR
0
-5
16
-15
+15
-15
+15
-15
+15
-15
+15
EQ IN
+6
+6
+6
+6
POST
PRE
+6
+6
POST
PRE
=
LR
MUTE
PFL
10
5
0
5
10
20
5
10
Dual stereo inputs Each of the eight 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
5
10
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.
A Unbalanced TRS inputs. The GAIN control adjusts from fully off to
+16dB gain. Press the ON switch to turn the input on.
Routing mode switch Recessed switch to prevent accidental
operation. In the normal up position the A signal mixes with the B
signal into the stereo channel. When pressed the A 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 another eight independent stereo sources to the LR mix.
B Balanced XLR inputs. The GAIN control adjusts from fully off to
+16dB gain. Press the ON 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.
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
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
channel signal. The red PK indicator half lights to show that PFL has
been selected on that channel.
PEAK The red indicator illuminates when the channel pre-fade
30
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.
WZ320S User Guide 17
The EXT1 and EXT2 Inputs
The WZ
effects returns, sub mix sources, sound effects and CD players. EXT1
features a fader and independent sends to auxes 1 to 4. EXT2 is a
simple input that routes direct to the LR mix through the TO LR switch.
AUX
AUX
AUX
AUX
1
+6
2
+6
3
+6
4
EXT1 AUX SENDS
These sends are not affected by the EXT1 fader 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 feed these signals to the monitors if required, for
example to add some reverb from an effects return.
3
20S provides two additional stereo inputs for signals such as
The signal can be routed to Auxes 1 to 4.
EXT2
LEV
+6
EXT1
10
5
0
5
10
EXT1 FADER
from fully off to +10dB maximum boost.
Routes the stereo signal to the main LR mix. Adjust
20
30
EXT2 RETURN This is a simple stereo return channel that 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 or stereo source. 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.
0
TO LR
You can use the EXT2 input to monitor your 2-track recording. Press
the EXT2 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.
18 WZ320S User Guide
The Master Section
AUX
1
STEREO 1-2
+4
AUX
2
+4
AUX
3
AUX
4
AUX
5
AUX
6
STEREO 3-4
+4
STEREO 5-6
+4
+4
+4
LR
ALT LR OUT
MONITOR
L+R
AUX 6
M
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
EXT1
EXT2
M
ALL UP = LR
0
+10
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.
LR FADER MASTER This 100mm stereo fader adjusts the main
L-R mix level. It provides +10dB boost above the nominal ‘0’ position.
For best performance the fader 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 fader well below ‘0’ may degrade the noise performance
AB
of the equipment.
M FADER MASTER A recessed mode switch above the M fader
Each aux mix has a master level control that
selects the fader source.
10
5
10
5
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,
0
5
10
0
5
10
mono recording and so on.
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
main console output with its own mix bus. Typical applications include:
20
20
Dedicated MONO mix The output feeds a centre mono fill speaker
system, for example above the proscenium arch or along the front of
30
30
the stage in a theatre. You may wish to feed just a few of the sources
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 fader. 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.
WZ320S User Guide 19
PHONES
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.
Adjust the output level from fully off to a maximum +10dB boost. The
normal 0dB position is marked on the panel.
EXT2
LEV
STEREO 1-2
STEREO 3-4
STEREO 5-6
PFL
0
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
EXT1
EXT2
M
ALT LR OUT
MONITOR
0
TO LR
RL
POWER
PHONES
10
ALL UP = LR
AB
0
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, broadcast feed, booth monitor 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.
AB output relay The AB output routes to its TRS connectors through
a relay which is normally switched on. A remote switch may be wired
to solder pads on the connector circuit card to switch the relay off and
isolate the output. One application is for a broadcast studio where a
booth monitor should be muted when its local mic is live. In this case
the relay would be wired to a micro-switch on the mic channel fader.
For external switching, the relay could be wired to pins on the
REMOTE (user) port on the rear panel.
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 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.
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.
+10
WARNING: To avoid damage to your hearing do not operate
any close-to-ear monitoring such as headphones for long periods
at high volume. Continued exposure to high volume sound can
cause frequency selective or wide range hearing loss.
20 WZ320S 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.
WZ320S User Guide 21
WZ320S Application Notes
The WZ320S is well suited to many high performance live, recording and installed sound
applications including multi source stereo mixing, multi output sub mixing, club systems,
small broadcast, production mixing… and more. The following notes present suggestions
for these applications. Of course, you may find different or better ways to suit the particular
requirements of your application.
Mixing Many Stereo Sources
There are many situations where you need to mix multiple stereo sources for
example keyboards, MIDI synthesisers, voice modules, sound cards, samplers,
outboard mic preamps, effects processors, CD, vinyl, DAT, MiniDisc, new media
players and recorders, stereo recorded tracks.
Dual stereo inputs You can connect two stereo sources to each channel and
switch between them or mix them together as required. Inputs A and B have
independent gain control so that the balance can be set as required. You do not
need to reset the gain each time you switch the inputs. You also have the
convenience of selecting either the TRS jack or XLR connections as appropriate
rather than using cable adapters.
Split stereo inputs The two stereo inputs feeding each stereo channel may be
split so that input B feeds the channel and input A routes direct to the LR mix.
This provides independent control for up to 16 stereo sources. For example, tape
returns, MIDI voice modules and other pre-processed sources can route in this
way leaving the channels available for additional sources needing EQ and
processing.
External stereo inputs The two additional EXT inputs increase the number of
stereo inputs to 18. You still have the four mono channels for microphone or line
level inputs. The EXT inputs are typically used to return the processed signal
from effects devices such as reverb, or to plug in a sub mixer.
Signal processing All channels provide 4 band EQ for creative or corrective
equalisation. The six AUX sends provide plenty of outputs for effects, monitors,
mono or stereo sub mixes and special feeds. The effects can be returned to the
EXT or dual stereo channels. For example, two stereo reverbs could be
combined into one stereo channel. The mono channels and main outputs provide
inserts for patching in additional signal processors such as compressors or
effects dedicated to individual sources.
Production and Recording
The number of inputs and processing power together with the sonic purity of
analogue sound make the WZ
program production.
3
20S well suited to professional recording and
Inputs Connect up to 4 microphones and 16 stereo line sources plus 2 smono
or stereo effects returns. For multitrack recording you can connect up to 16 track
returns to the 8 stereo channels. You can use either mono or stereo channels to
connect to outboard mic preamps, increasingly common in the studio.
Outputs The stereo LR, mono M and secondary stereo AB outputs can feed
independent recording devices. This is useful when recording translations and
voiceovers.
22 WZ320S User Guide
Multi Output Submixing
The WZ320S is built to the same high standard as top end consoles used in major
live sound applications. Its all steel construction, together with individual circuit
cards, make it ideal as a professional sidecar to the FOH console. It provides a
versatile 4 mono, 8 dual stereo format for sub mixing a wide variety of sources.
Typical applications include on-stage stereo keyboard mixing, and sub mixing
effects returns to the main FOH console.
Balanced inputs Use the stereo B input XLR sockets when connecting to long
stage cable runs. This reduces interference pickup. Select +48V for any
microphones that require phantom power.
Mono and stereo sub mix feeds to FOH Aux sends 1-4 let you create up to
four mono or two independent stereo mixes to feed the main console. The aux
pairs 1-2 and 3-4 may be configured for mono or stereo operation by setting
internal jumper plugs. See OPTIONS. For example, you could provide two
stereo keyboard mixes for more flexible FOH mixing. Alternatively, you could use
3
the WZ
on impedance balanced TRS jacks able to directly feed a professional multi-core
to console system. An electronic balance option is available if required.
Musician’s monitor The stereo LR and mono M outputs could be used for a
musicians local monitor. If this is the case, set aux sends 1-4 to PRE-fade so that
the sub mixes to FOH are not affected by the local fader movements. Additional
sources such as ambience or a monitor mix from FOH could be mixed into the
local monitor using spare channels. Aux sends 1-4 should be turned down on
these channels. Auxes 5 and 6 may be used for local reverb and effects. The
musician could use the console headphones or local wedge speakers as the
monitor. Note that sub mixes to FOH created using auxes 1-4 may be checked in
mono or stereo by pressing the related one or two switches in the monitor master.
20S for two independent sub mixing tasks. The aux outputs are available
Single cable sub mixer Fitting the optional SYS-LINK V2 output expander card
provides a single cable local connection to the main console. The LR and AUX
outputs as well as the PFL system are linked to the related circuits when
connecting to another ALLEN & HEATH console fitted with SYS-LINK.
Installation convenience Rotate and fix the connector pod as required for flight
case, desktop or rack mounting. It is usual to install the effects or stage sub
mixer in a rack system together with the processing equipment.
Outside Broadcast
The WZ20S provides a compact rack mountable solution for remote broadcast
telecast or recording.
Inputs Up to 4 announcer or ambient microphones can be directly connected
with individual phantom power selection. The input stage provides a very wide
dynamic range, particularly important during event commentating. Use the stereo
inputs for camera, tape or effect sources, mix minus or host feeds, inputs from
sub mixers, stereo microphone preamps and so on.
Outputs The LR, M and aux outputs can provide independent broadcast feeds,
for example ‘effect’ only (ambient pick up) and ‘effect + announcer’ feeds. This is
useful where the ambient sound is recorded for later voiceover dubbing, such as
news report preparation.
Monitoring In addition to the headphones, use AB as the local monitor feed to
the location booth speakers. All sources can be independently checked and
metered. Use the EXT inputs for dedicated monitor returns such as off-air and
recording. The AB relay option can be used for remote mute switching.
WZ320S 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 WZ320S 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 A TRS unbalanced >10k ohm, -16 to +20dBu
B XLR balanced >10k ohm, -16 to +20dBu
Stereo returns EXT1 TRS balanced >10k ohm, -6 to +20dBu
EXT2 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
Relay isolate user option
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 v = voltage
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
20S 4 mic/line, 8 dual stereo, LR console W320S/v
3
WZ
12:2 / WZ316:2 / WZ320S Sys-Link II output option kit W312/16-SLV2
3
WZ
14:4:2 Sys-Link II input/output option kit W31442-SLV2
WZ20S Mono switched fader 002-496
WZ20S Stereo switched fader 002-497
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
WZ320S User Guide 25
WZ3 20S
48V
MIC
INSERT
2= +
LINE
0dBu
LINE (PAD)
-20dB
TIP= +BALANCED
TIP= SEND
RING= RETURN
MIC/LINE INPUTS x4
DIRECT OUT
0dBu
IMPEDANCE BALANCED
L/M
INPUT A
INPUT B
R
L
R
BALANCED
2= +
GAIN
+
GAIN
+
-
GAIN
TIP= +
RING= -
PHANTOM POWER
HPF
+
-
ON
ON
CH
LR
4 BAND EQUALISER
HF
HM
LM
LF
PRE-INSERT, PRE-EQ
PRE-FADE
POST-FADE
4 BAND EQUALISER
HF
HM
+
LM
LF
PK
SIG
PFL
EQ IN
C
D
SUM
EQ IN
POST-EQ
P = PRE-FADE
S = SWITCHED
A = POST-FADE
PK
SIG
+
MUTE
FADER
B
A
FEJUMPER GH
S
P
2AUX 1
PFL
MUTE
PRE-FADE POST-FADE
MS MS
CN4
FADER
MONO/STEREO AUX
SYS-LINK CONNECTION
RIGHT
LEFT
PFL
AUX 1-6
SL
AUX SENDS 1-6
SL
AUX1
STEREO 1-2
AUX2
AUX3
STEREO 3-4
AUX4
AUX5
STEREO 5-6
AUX6
EXT1
EXT2
M
ALL UP= L-R
PRE
MASTER
AUX1-6 TO MONITOR
SL
LRL
R
MONITOR
L-R
POST-FADE
A-B
LEV
ACTIVE
AUX OUT
TIP= +
+4dBu BAL OPTION
L
R
PFL
MONITOR METERS
-2dBu
IMPEDANCE BALANCED
MONITOR
LEV
A-B
TRACK LINK
HEADPHONES
L
R
-2dBu IMPEDANCE BALANCED
RELAY MUTE OPTION
SWITCH TO GND TO MUTE
A
GND
B
A OUT
TIP= +
A OUT
TIP= +
SL
PAN
PRE
IJKL
S
SA
A
6
5
4SP3
PAN
++
CN5
PRE
AUX MIX
AUX6 TO C
PFL DC
PFL MIX
MONITOR SELECT
DUAL STEREO INPUTS
x8
L/M
P = PRE-FADE
S = SWITCHED
A = POST-FADE
EXT1 IN
+
-
BALANCED 0dBu
+
R
-
STEREO RETURNS
EXT2 IN
L/M
R
BADCFEHGJILKJUMPER OPTIONS
P
AUX
1
SUM
+
SM
JP1
MONO/STEREO AUX SOURCE
UNBALANCED -2dBu
P SPPS2S
FADER
3
TO MONITOR
LR
AUX1
AUX2
AUX3
AUX4
EXT2 TO LR
6
TO MONITOR
LR
INSERT
INSERT
-2dBu
-2dBu
MONO SUM
SL
SAA4S5S
L MIX
SL
R MIX
FROM AUX6
AUX6
L FADER
R FADER
+
SUM
M FADER
BAL
LEFT OUT
2 = +
+4dBu
L-R
BAL
RIGHT OUT
2 = +
+4dBu
M
BAL
M OUT
2 = +
+4dBu
26 WZ320S User Guide
User Options – Channel Cards
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
MONO INPUT STEREO INPUT
AUX STEREO/MONO
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.
AUX MASTER MASTER LR
AUX BALANCE OPTION
AB PRE/POST LR FADER
AUX PRE/POST FADER
ST AUX STEREO/MONO
WZ320S User Guide 27
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
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 1-4 = switched, Aux 5-6 = switched
You can change these settings for different
ABCDEFGHIJK
PRPOPRPOSWPRSWPRSWPOSWPO
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
AUX MASTER - EXT1 MONO/STEREO
JP1
EXT1 AUX SOURCE
STEREOMONO
LR MASTER - AB SOURCE
JP2
JP4
JP1
JP3
AB PRE/POST LR FADER
LRLR
POST
PRE
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. Note that you should
also set the EXT1 stereo/mono jumper to the same
position.
EXT1 stereo/mono aux source The return
channel EXT1 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.
28 WZ320S User Guide
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
WZ320S
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
20S can become input channel expanders for
other consoles.
IMPORTANT: The option does not include the SysLink II input. Therefore the WZ
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
20S cannot be used
A 37way shielded multi-core cable carries the
MixWizard balanced mix signals and PFL system to
the master console.
SYS-LINK II INPUT
MASTER CONSOLE
SYS-LINK II OUTPUT
For full details please refer to the Sys-Link option
WZ314:4:2 OR OTHER A&H CONSOLE
Applications Note AP5736 and Fitting Instructions
AP5735.
WZ320S User Guide 29
User Options – AB Output Relay Switching
The AB output routes to its TRS connectors through
a relay which is normally switched on. A remote
switch may be wired to solder pads on the connector
circuit card to switch the relay off and isolate the
output. One application is in a broadcast studio
where a booth monitor should be muted when its
REMOVE 2x M3 TORX SCREWS PER SIDE
REMOVE 6x M3 TORX SCREWS
local mic is live. In this case the relay would be wired
to a micro-switch on the mic channel fader. For
external switching, the relay could be wired to pins
on the REMOTE (user) port on the rear panel.
A-B
LEV
ALLEN&HEATH
2-TRACK
SEND
RETURN
INSERT
L
L
L
A5
OUT
R
R
M
OUT
INSERT
LISTEN WEDGE
R
A6
MATRIX OUT
MONITOR OUT
OUT
L
A
R
B
AUX 6
AUX 5AUX 4AUX 3AUX 2AUX 1
R L
A-B
INSERT
1
A1
OUT
INSERT
2
A2
OUT
G2G3 G1
13-14
L/M
ST3
R
L/M
ST4
R
GRP/AUX
REVERSE
AUX
SENDS
ONLY USE RECOMMENDED ALLEN&HEATH POWER SUPPLY.
REFER TO USER GUIDE FOR DETAILS.
MixWizard WZ314:4:2
INSERT
11-12
10
L/M
ST1
LINE IN
R
10
MIC
L/M
ST2
R
DIRECT
OUT
XLR OUT
21
+OUT
3
- OUT
EXTERNAL DC IN
BACKUP SUPPLY
INSERT
3
A3
OUT
INSERT
4
A4
OUT
G4
9
INSERT
INSERT 8
INSERT
LINE IN
LINE IN
LINE IN
9
8
76
MIC
MIC
MIC
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
910
SYS-LINK OUT ( option ) SYS-LINK IN ( option )
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 CARA CTERISTIQUES.
REFER SERVICING TO QUALIFIED SERVIC E PERSONNEL.
Made in the UK by ALLEN & HEATH Limited Serial No.
INSERT
7
6
LINE IN
MIC
DIRECT
OUT
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK
INSERT
INSERT 5
INSERT 4
INSERT 3
INSERT 1
LINE IN
4
MIC
DIRECT
OUT
FUSE
T630mA L 250V 20mm
LINE IN
LINE IN
3
2
MIC
MIC
DIRECT
DIRECT
OUT
OUT
INSERT
SEND
RETURN
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
WARNING: THIS APPARATUS MUST BE EARTHED
2
LINE IN
1
MIC
DIRECT
OUT
12345678
INPUT
+IN
2 1
MIC
TIP
- IN
3
RING
TIP +INTIP
LINE
RING -INRING
ONI0OFF
LINE IN
5
MIC
DIRECT
OUT
This option requires internal access to the rear
connector pod. Remove the two M3x6 Torx screws
from each side of the connector panel. Remove the
six M3x6 Torx screws from the rear of the connector
panel. Carefully tilt the connector panel away from
the console so that it is flat on the work surface.
Locate the GND, A and B solder pads on the solder
-2dBu IMPEDANCE BALANCED
A OUT
side of the connector circuit card. Pads A and B are
linked together with a small track. It is normal that
outputs A and B are switched simultaneously. To
switch the relays so that they isolate the output, wire
a switch from pad A to one of the GND pads. This
affects both the A and B outputs.
If you require separate switching of output relay A
and B then cut the interconnecting track and wire two
switches, one from pad A to ground, the other from
pad B to ground.
TRACK LINK
RELAY MUTE OPTION
SWITCH TO GND TO MU TE
A
GND
B
TIP= +
A OUT
TIP= +
When the switch contacts are closed the relay
contacts will open, isolating the audio output from its
TRS jack connection.
GND
A+B RLY OPTION
A
B
Track link
30 WZ320S User Guide
+48V
PAD
(LINE)
30
40
0
20
GAIN
10- 10
HPF
HF
-15
+15
3k
1k
4k
700
500Hz
15k
HM
-15
+15
180
70
250
45
35Hz
1k
LM
-15
+15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
PAN
MUTE
PK!
PFL
SIG
10
5
0
5 5
10
Cue Sheet WZ
3
20S
Copy and use this page to record your console settings.
MixWizard WZALLEN&HEATH
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
4060
50
10- 10
4060
HPF
HF
+15
-15
3k
4k
1k
6k
700
6k
500Hz
15k
HM
+15
-15
180
250
70
400
45
400
1k
35Hz
LM
+15
-15
LF
+15
-15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
PAN
MUTE
PK!
PFL
SIG
10
5
0
10
+48V
PAD
(LINE)
30
0
20
GAIN
10- 10
HPF
HF
-15
3k
1k
700
500Hz
HM
-15
180
70
45
35Hz
LM
-15
LF
-15
EQ IN
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
=
PAN
PK!
PFL
SIG
10
5
0
5
10
3
20S
+48V
PAD
(LINE)
30
40
50
4060
+15
4k
6k
15k
+15
250
400
1k
+15
+15
+6
+6
+6
+6
POST
PRE
+6
+6
POST
PRE
MUTE
40
0
20
GAIN
10- 10
HPF
HF
+15
-15
3k
4k
1k
700
500Hz
15k
HM
+15
-15
180
250
70
45
1k
35Hz
LM
+15
-15
LF
+15
-15
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
PAN
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
GAIN
-10
-20
A
16
ON
50
TO
TO CHANNEL
GAIN
B
HF
HM
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
PK!
SIG
LR
0
-5
-10
-20
16
+15
-15
-15
+15
-15
+15
-15
+15
EQ INEQ IN
+6
+6
+6
+6
POST
PRE
+6
+6
POST
PRE
=
MUTE
PFL
10
4060
6k
400
5
0
5
10
0
-5
5
GAIN
-10
10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
5
GAIN
-10
10
-20
B
16
ONON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
5
GAIN
-10
10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
5
GAIN
-10
10
-20
B
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
5
GAIN
-10
10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
5
GAIN
-10
10
-20
B
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
5
10
5
GAIN
-10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
5
10
5
GAIN
-10
-20
B
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
GAIN
-10
10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
GAIN
-10
10
-20
B
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
5
10
5
GAIN
-10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
5
10
5
GAIN
-10
-20
B
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
MUTE
PK!
PFL
SIG
10
5
0
5
10
0
-5
5
GAIN
-10
10
10
-20
A
16
ON
TO
LR
TO CHANNEL
0
-5
5
GAIN
-10
10
10
-20
B
16
ON
HF
+15
-15
HM
+15
-15
LM
+15
-15
LF
-15
+15
EQ IN
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST
PRE
AUX
5
+6
AUX
6
+6
POST
PRE
=
BAL
RLRLRLLRLRLRLRLRLRLRLRRL
MUTE
PK!
PFL
SIG
10
5
0
5
10
LAMP
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
EXT1
10
5
0
5
10
20
30
AUX
1
+4
AUX
2
+4
AUX
3
+4
AUX
4
+4
AUX
5
+4
AUX
6
+4
LR
10
5
0
5
10
EXT2
STEREO 1-2
STEREO 3-4
STEREO 5-6
10
5
0
5
10
LEV
PHONES
0
TO LR
LR
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
POWER
PFL
PHONES
10
0
1AUX
2AUX
3AUX
4AUX
5AUX
6AUX
EXT1
EXT2
M
ALL UP = LR
ALT LR OUT
MONITOR
AB
0
+10
L+R
AUX 6
M
20
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
30
WZ320S User Guide 31
32 WZ320S User Guide
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