Allen & Heath MixWizard WZ4 User manual

MixWizard WZ4 16:2 and WZ4 12:2
USER GUIDE
Publication AP8665
Limited One Year Warranty
This product is warranted to be free from defects in materials or workmanship for 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
The equipment has been installed and operated in accordance with the instructions in this User Guide.
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. Any necessary adjustment, alteration or repair has been carried out by ALLEN &
HEATH or its authorised agent.
This warranty does not cover fader wear and tear. The defective unit is to be returned carriage prepaid to ALLEN & HEATH or its
authorised agent with proof of purchase.
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 directive 2004/108/EC and the European Low Voltage directive 2006/95/EC.
This product has been tested to EN55103 Parts 1 & 2 2009 for use in Environments E1, E2, E3, and E4 to demonstrate compliance with the protection requirements in the European EMC directive 2004/108/EC. 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.
Allen & Heath WZ4 16:2 and 12:2 User Guide AP8665 Issue 1
Copyright © 2013 Allen & Heath Limited. All rights reserved
Allen & Heath Limited
Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
4
16:2 and 12:2 User Guide
Safety Instructions
WARNING -
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 lightning 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.
4
16:2 and 12:2 User Guide
Safety Instructions
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:
L LIVE BROWN BLACK
!
N NEUTRAL BLUE WHITE
E EARTH GND GREEN & YELLOW GREEN
TERMINAL WIRE COLOUR
European USA/Canada
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
Damage :
Environment :
Cleaning :
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.
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.
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 :
Hearing :

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.
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
16:2 and 12:2 User Guide
Introduction
Welcome to the Allen & Heath WZ4, the latest generation of the popular 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 audio matters ( www.allen-heath.com )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.
Contents
Warranty ............................................................. 2
Safety Instructions ............................................. 3
General Precautions ......................................... 4
Introduction to this Guide .............................. 5
Front Panel Layout ............................................ 6
Introducing the MixWizard ............................. 7
Installing the Console ....................................... 8
Connecting Power ............................................ 9
Connection Pinouts and Cables ................... 10
Audio Connections ......................................... 11
Connector Panel Layouts .............................. 12
Console Connectors ...................................... 13
Mono Input Channel ....................................... 15
Stereo Input Channel ..................................... 17
Stereo Effects Channel ................................... 18
Master Section ................................................. 19
Gain Structure .................................................. 21
Specifications .................................................... 22
System Block Diagrams .................................. 24
User Options .................................................... 26
Cue Sheets ........................................................ 29
4
16:2 and 12:2 User Guide
LAMP
0
-5
GAIN
GAIN
-10
-20
16
ON
LR
TO
(ST1+ST2)TO
9-10
0
-5
-10
-20
16
ON
HF
HM
LM
LF
GAIN
+48V
PAD
(LINE)
30
40
0
20
50
10- 10
4060
HPF
HF
3k
1k
4k
700
6k
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
GAIN
+48V
PAD
(LINE)
30
40
0
20
50
10- 10
4060
HPF
HF
3k
1k
4k
700
6k
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
EQ IN EQ IN EQ IN EQ IN
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
POST
PAN
AUX
1
+6
+6
+6
+6
POST PRE
+6
+6
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
PAN
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
BAL
0
-5
5
GAIN
10
TO
5
GAIN
10
ON
ON
11-12
HF
HM
LM
5
-10 10
-20
16
TO
LR
(ST3+ST4)
0
-5 5
-10 10
-20
16
2 DelayLF
3
6 SlapDelay
7
8
9
10
11
12
13
14
15
16
LF
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
BAL
Off--
Aux send
Delay1
[tap] [regen]
[tap] [LFregen]
DelayHF
[tap] [regen]
PingPong4
[tap] [regen]
BeatDelay5
[tap] [regen]
[time]
Ambient
[size]
EchoVerb
[reverb]
EchoSpace
[size]
Doubler
[thickness]
Plate
[decay]
PlateDly
[predly]
PlateEQ
[colour]
Hall1
[size]
Hall2
[size]
ConcertHall
[size]
Arena17
[size]
SmallSpace18
[size]
Flanger19
[intensity]
Chorus20
[depth]
ST5
LEV
AUX
1
AUX
2
AUX
3
AUX
4
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
OO +6
OO +6
OO +6
OO +6
AUX5
AUX6
Hold
/ FX
OO +6
OO +4
OO +4
OO +4
OO +4
OO +4
OO +4
POST / FX
Parameter
TAP
FX MUTE
PRE
ST6/USB
LEV
OO
0
TO LR
+16
Press
+9 +6 +3
0
-3
-6
-9
-12
-16
-20
-30
L
R
POWER
PFL
0
10
1
AUX
1-2
3-4
5-6
AUX
AUX
AUX
AUX
AUX
ST5
2
3
4
5
6
/ FX
ST6
M
ALL UP = LR
ALT LR OUT MONITOR
AB
L R
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
OO OO OO OO
PK!
SIG
10
5
0
5
10
20
30
L R
PFL
MUTE
PK!
SIG
L R
PFL
10
5
0
5
10
20
30
MUTE
RL
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
L10R
10
5
0
5
10
20
30
OO
5
0
5
10
20
30
OO O
OO
+10
L+R AUX 6
M
10
5
0
5
10
20
30
O
AUX6
4
16:2 and 12:2 User Guide
Introducing the MixWizard
The Allen & Heath MixWizard series of consoles includes several models. This user guide describes the WZ416:2 and WZ412:2 stereo models. For further information on the MixWizard series please refer to the Allen & Heath web site.
+48V
+48V
PAD
PAD
(LINE)
(LINE)
0
0
30
30
40
40
20
20
GAIN
GAIN
50
50
6040
- 101 0
6040
- 101 0
HPF
HPF
HF
HF
3k
3k
4k
1k
4k
1k
6k
700
6k
700
15k
500Hz
15k
500Hz
HM
HM
180
180
250
70
250
70
400
45
400
45
1k
35Hz
1k
35Hz
LM
LM
LF
LF
AUX
AUX
1
1
+6
OO
+6
OO
AUX
AUX
2
2
+6
OO
+6
OO
AUX
AUX
3
3
+6
OO
+6
OO
AUX
AUX
4
4
+6
OO
+6
OO
POST POST POST
PRE
PRE
AUX
AUX
5
5
+6
OO
+6
OO
AUX
AUX
6
6
+6
OO
+6
OO
PAN
PAN
RL R
L
MUTE MUTEMUTE
PK!
PK!
PFL
PFL
SIG
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
OO
OO
ALLEN&HEATH
INSERT
16
INSERT
L
INSERT
LINE IN
LINE IN
R
16
MIC
L
R
DIRECT
DIRECT
OUT
OUT
AB ST2
A
L
/MONO
M
B
R
MONO CH 15/16 AB
USB 2.0
MULTICHANNEL AUDIO
4
MixWizard WZALLEN&HEATH
16:2
+48V
+48V
+48V
+48V
PAD
PAD
PAD
PAD
(LINE)
(LINE)
(LINE)
(LINE)
0
0
0
0
20
GAIN
- 1010
HF
1k
700
500Hz
HM
70
45
35Hz
LM
LF
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
PAN
LOOR
PK!
SIG
10
5
10
20
30
OO
15
MIC
OUT
ST2 SOURCESENDS 15/16
30
30
30
30
3k
180
PFL
5
0
15
IN
ST2 INPUT USB RETURN
40
40
40
40
20
20
20
GAIN
GAIN
GAIN
50
50
50
6040
- 1010
6040
- 1010
6040
- 1010
6040
HPF
HPF
HPF
HPF
HF
HF
HF
3k
3k
3k
4k
4k
1k
4k
1k
4k
1k
6k
6k
700
6k
700
700
15k
15k
500Hz
15k
500Hz
15k
500Hz
HM
HM
HM
180
180
180
250
250
70
250
70
250
70
400
400
45
400
45
45
1k
1k
35Hz
1k
35Hz
1k
35Hz
LM
LM
LM
LF
LF
LF
AUX
AUX
AUX
1
1
1
+6
OO
+6
OO
O
+6
O
+6
AUX
AUX
AUX
2
2
2
+6
OO
+6
OO
O
+6
O
+6
AUX
AUX
AUX
3
3
3
+6
OO
+6
OO
O
+6
O
+6
AUX
AUX
AUX
4
4
4
+6
OO
+6
OO
O
+6
O
+6
POST POST POST POST POST POST
PRE
PRE
PRE
PRE
AUX
AUX
AUX
5
5
5
+6
OO
+6
OO
O+6O
+6
AUX
AUX
AUX
6
6
6
+6
OO
+6
OO
O
+6
O
+6
PAN
PAN
PAN
L R
L
L
R
R
MUTEMUTEMUTE
PK!
PK! PK!
PFLPFL
PFL
SIG
SIG
SIG
10
10
10
5
5
5
0
0
0
5
5
5
10
10
10
20
20
20
30
30
30
OO
OO
OO
INSERT
14
INSERT
INSERT
13 12
LINE IN
LINE IN
LINE IN
14
13
12
MIC
MIC
MIC
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
IN AUX5AUX AUX AUXAUX3AUX2SEND
L
/MONO
R
+
L/M
-
EXTERNAL FX RETURN
ST1
+
R
-
EFFECT
AUX5
OFF, 1-20
INTERNAL FX
EFFECT
AUX6
OFF, 1-20
To reset the FX parameters to factory default: Power up the console while holding down the TAP key and the FX ROTARY switch
+48V
PAD
(LINE)
0
0
30
40
20
20
GAIN
GAIN
50
50
- 101 0
6040
- 101 0
HPF
HF
HF
3k
4k
1k
1k
6k
6k
700
700
15k
500Hz
500Hz
HM
HM
180
250
70
70
400
400
45
45
1k
35Hz
35Hz
LM
LM
LF
LF
AUX
AUX
1
1
+6
OO
OO
AUX
AUX
2
2
+6
OO
OO
AUX
AUX
3
3
+6
OO
OO
AUX
AUX
4
4
+6
OO
OO
PRE
AUX
AUX
5
5
+6
OO
OO
AUX
AUX
6
6
+6
OO
OO
PAN
PAN
L R
L
PK!
PK! PK!
PFL
SIG
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
OO
OO
MixWizard WZ
INSERT
INSERT
11
LINE IN
LINE IN
10
11
MIC
MIC
DIRECT
DIRECT
OUT
OUT
46ST1
MIX
L R
+48V
+48V
PAD
PAD
(LINE)
(LINE)
0
30
30
40
40
20
GAIN
GAIN
50
50
- 101 0
6040
- 101 0
6040
HPF
HPF
HF
HF
3k
3k
4k
4k
1k
6k
6k
700
700
15k
15k
500Hz
HM
HM
180
180
250
250
70
400
400
45
45
1k
1k
35Hz
LM
LM
LF
LF
AUX
AUX
1
1
+6
OO
+6
AUX
AUX
2
2
+6
OO
+6
AUX
AUX AUX
3
+6
OO
+6
AUX
AUX
4
+6
OO
+6
PRE
PRE
AUX
AUX
5
5
+6
OO
+6
AUX
AUX
6
6
OO
+6
PAN
PAN
R+6L R
MUTEMUTEM UTE
PK!
PFL
PFL
SIG
SIG
10
5
0
5
10
20
30
OO
9
10
INSERT
LINE IN
9
MIC
DIRECT
OUT
910111213141516
1
+48V
+48V
+48V
PAD
PAD
PAD
(LINE)
(LINE)
(LINE)
0
0
0
0 20
1k
500Hz
70
35Hz
O
O
O
O
O3O
O4O
OO
OO
L
10
5
0
5
10
20
30
OO
30
30
30
30
40
40
40
20
20
20
GAIN
GAIN
GAIN
50
50
50
- 1010
6040
- 1010
6040
- 1010
6040
HPF
HPF
HPF
HF
HF
HF
3k
3k
3k
3k
4k
4k
1k
4k
1k
1k
6k
6k
700
6k
700
700
15k
15k
500Hz
15k
500Hz
500Hz
HM
HM
HM
180
180
180
180
250
250
70
250
70
70
400
400
45
400
45
45
1k
1k
35Hz
1k
35Hz
35Hz
LM
LM
LM
LF
LF
LF
AUX
AUX
AUX
1
1
1
+6
OO
+6
OO+6O
OO
AUX
AUX
AUX
2
2
2
+6
OO
+6
OO
+6
OO
AUX
AUX AUX
3
3
3
+6
OO
+6
OO
+6
OO
AUX
AUX
AUX
4
4
4
+6
OO
+6
OO
+6
OO
POST POST POST POST POST PRE
PRE
PRE
AUX
AUX
AUX
5
5
5
+6
OO
+6
OO
+6
OO
AUX
AUX
AUX
6
6
6
+6
OO
OO
+6
OO
PAN
PAN
PAN
R L
R+6L R
L
MUTEMUTEMUTE
PK! PK!
PK! PK!
PFL
PFL PFL
PFL
SIG
SIG
SIG
10
10
10
5
5
5
0
0
0
5
5
5
10
10
10
20
20
20
30
30
30
OO
OO
OO
4
16:2
INSERT
INSERT
8
7
INSERT
6
LINE IN
LINE IN
LINE IN
8
7 6
MIC
MIC
MIC
DIRECT
DIRECT
DIRECT
OUT
OUT
OUT
FOOTSWITCH
FX MUTE
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CERTIFICATED TO CAN/CSA STD.60065-03
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIREREPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan Apparatet må tilkoples jordet stikkontakt Apparaten skall anslutas till jordat uttag
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
MADE IN CHINA
+48V
PAD
(LINE)
0
40
20
GAIN
50
- 1010
6040
HPF
HF
4k
1k
6k
700
15k
500Hz
HM
250
70
400
45
1k
35Hz
LM
LF
AUX
1
+6
O
AUX
2
O
+6
O
3
O
+6
O
AUX
4
O
+6
O
PRE
AUX
5
O
+6
O
AUX
6
O
+6
O
PAN
L
R
SIG
10
10
20
30
OO
INSERT
5
LINE IN
5
MIC
DIRECT
OUT
CONFORMS TO ANSI/UL STD. 60065-2003
Serial No.
+48V
PAD
(LINE)
30
40
6040
HPF
3k
15k
180
1k
+6
+6
+6
+6
PRE
+6
+6
R
MUTEMUTE
PFL
5
0
5
XLR OUT
1 2
3
- OUT
0 20
GAIN
50
- 101 0
HF
3k
4k
1k
6k
700
500Hz
HM
180
250
70
400
45
35Hz
LM
LF
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
PAN
L
PK!
PFL
SIG
10
5
0
5
10
20
30
INSERT
4
LINE IN
4
MIC
DIRECT
OUT
LINE IN/OUT
+OUT
FUSE
T630mA L 250V 20mm
AUX
+48V
+48V
1
PAD
PAD
(LINE)
(LINE)
AUX
0
3030
2
40
40
20
GAIN
50
50
AUX
10- 10
4060
6040
3
HPF
HPF
HF
AUX
4
3k
4k
4k
1k
6k
6k
700
15k
15k
500Hz
HM
AUX5
AUX6
180
250
250
70
400
400
45
1k
1k
35Hz
LM
ST1
LF
LEV
EQ INEQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN
AUX
1
AUX
1
+6
OO
+6
AUX
2
AUX
2
+6
OO
+6
AUX
3
AUX
3
+6
OO
+6
AUX
4
AUX
4
+6
OO
+6
POST
POST
PRE
PRE
AUX
AUX
5
5
+6
OO
+6
AUX
AUX
6
6
+6
+6
PAN
Off--
Aux send
Delay1
[tap] [regen]
R
LOOR
2 De layLF
MUTE
MUTE
[tap] [LFregen]
DelayHF
3
PK!
PFL
[tap] [regen]
PingPong4
[tap] [regen]
SIG
BeatDelay5
[tap] [regen]
10
6 Sl apDelay
[time]
7
Ambient
5
[size]
8
EchoVerb
[reverb]
0
9
EchoSpace
[size]
10
Doubler
5
[thickness]
11
Plate
[decay]
10
12
PlateDly
[predly]
13
PlateEQ
[colour]
14
Hall1
[size]
20
15
Hall2
[size]
16
ConcertHall
[size]
Arena17
[size]
30
SmallSpace18
[size]
Flanger19
[intensity]
OOOO
Chorus20
[depth]
INSERT
INSERT
3
LINE IN
LINE IN
3
2
MIC
MIC
DIRECT
DIRECT
OUT
OUT
INSERT
SEND
TIP +
TIP
RING -
RING
RETURN
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
WARNING: THIS APPARATUS MUST BE EARTHED
CET APPAREIL DOIT ETRE MIS A LA TERRE
LAMP
OO
+6
OO
+6
OO
+6
ST2/USB
LEV
OO
+6
OO
0
TO LR
+16 +9
Press
+6 +3 0
-3
-6
-9
-12
Parameter
-16
Hold
-20
-30
TAP
/ FX
L
R
POWER
PFL
OO
+6
FX MUTE
PRE
0
10
1
AUX
1-2
OO
+4
2
AUX
3
AUX
OO
+4
3-4
4
AUX
OO
+4
5
AUX
5-6
6
AUX
OO
+4
/ FX
ST1
ST2
OO
+4
M
ALL UP = LR
OO
+4
POST / FX
ALT LR OUT MONITOR
AB
OO
+10
L+R AUX 6
L10R
M
10
5
5
0
0
5
5
10
10
20
20
30
30
O
OO O
AUX6
The MixWizard is a compact console designed for professional live sound mixing. It is built to the same high standards as our top of the range consoles, with individual circuit cards, potentiometers nutted to the panel for absolute strength, steel chassis, and no com­promise circuit design ensuring the finest sonic per­formance.
The console can be operated free standing or in a 19” rack or flightcase. It is supplied with protective side trims fitted. These can be removed for rack mount­ing. The rear connector pod can be easily rotated for rear facing or underside connectors when rack mounted.
Both models feature a 4 band semi-parametric EQ and high pass filter per mic/line channel, 6 aux sends with combinations of pre/post switching, 100mm faders, a built-in dual effects processor with adjustable
2
INSERT
1
LINE IN
1
MIC
DIRECT
OUT
12345678
INPUT
+IN
1
2
MIC
- IN
3
TIPTIP +IN
LINE
RINGRING -IN
ONI0OFF
parameter control, dedicated mono output with sepa­rate fader and innovative operating mode for aux fed sub systems, additional AB stereo output, compre­hensive metering, engineers monitoring and a lamp socket.
4
10- 10
OO
OO
OO
OO
OO
OO
L R
+48V
PAD
(LINE)
30
40
HPF
3k
15k
180
1k
+6
+6
+6
+6
PRE
+6
+6
MUTE
PFL
LRM
50
4060
4k
6k
250
400
L
6 4
ST6 SOURCESENDS 15/16
USB RETURN
0
GAIN
HF
700
500Hz
HM
45
35Hz
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PK!
SIG
10
10
20
30
FX MUTE
+48V
PAD
(LINE)
30
30
40
0
20
20
GAIN
50
10- 10
4060
10- 10
HPF
HF
3k
1k
4k
1k
6k
700
15k
500Hz
HM
180
70
250
70
400
45
1k
35Hz
LM
LF
AUX
1
+6
OO
OO
AUX
2
+6
OO
OO
AUX
3
+6
OO
OO
AUX
4
+6
OO
OO
POST PRE
AUX
5
+6
OO
OO
AUX
6
+6
OO
OO
POST
POST
PAN
L R
L R
MUTE
PK!
PFL
SIG
10
5
5
0
0
5
5
10
20
30
EXT FX
ST5
L
/MONO
R
FOOTSWITCH
ST6
L
/MONO
R
EXTERNAL FX RETURN
AUX5
INTERNAL FX
AUX6
To reset the FX parameters to factory default: Power up the console while holding down the TAP key and the FX ROTARY switch
12:2
+48V
+48V
+48V
+48V
PAD
(LINE)
30
40
0
20
20
GAIN
50
10- 10
4060
HPF
HF
3k
1k
4k
1k
6k
700
500Hz
15k
500Hz
HM
180
70
250
70
400
45
35Hz
1k
35Hz
LM
LF
AUX
1
+6
OO
AUX
2
+6
OO
AUX
3
+6
OO
AUX
4
+6
OO
POST PRE
AUX
5
+6
OO
AUX
6
+6
OO
POST
PAN
L R
MUTE
PK!
PFL
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
MixWizard WZ412:2ALLEN&HEATH
8
INSERT
LINE IN
8
MIC
DIRECT
OUT
8
SEND2AUX3AUX AUXAUXAUX5AUX
+48V
PAD
PAD
(LINE)
(LINE)
30
30
40
0
40
20
GAIN
50
50
10- 10
4060
10- 10
4060
HPF
HPF
HF
3k
3k
4k
1k
4k
6k
700
6k
15k
500Hz
15k
HM
180
180
250
70
250
400
45
400
1k
35Hz
1k
LM
LF
AUX
1
+6
+6
OO
OO
AUX
2
+6
+6
OO
OO
AUX
3
+6
+6
OO
OO
AUX
4
+6
+6
OO
OO
POST
POST
PRE
PRE
AUX
5
+6
+6
OO
OO
AUX
6
+6
+6
OO
OO
POST
POST
PAN
L R
L R
MUTE
MUTE
PK!
PFL
PFL
SIG
10
5
0
5
10
20
30
6
INSERT
INSERT
7
LINE IN
LINE IN
6
7
MIC
MIC
DIRECT
DIRECT
OUT
OUT
6
7
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 PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan Apparatet må tilkoples jordet stikkontakt Apparaten skall anslutas till jordat uttag
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
PAD
PAD
(LINE)
(LINE)
30
40
0
40
0
20
GAIN
GAIN
50
50
4060
10- 10
4060
HPF
HPF
HF
HF
3k
3k
4k
1k
4k
6k
700
6k
700
15k
500Hz
15k
HM
HM
180
180
250
70
250
400
45
400
45
1k
35Hz
1k
LM
LM
LF
LF
AUX
AUX
1
1
+6
+6
OO
AUX
AUX
2
2
+6
+6
OO
AUX
AUX
3
3
+6
+6
OO
AUX
AUX
4
4
+6
+6
OO
POST
POST
PRE
PRE
AUX
AUX
5
5
+6
+6
OO
AUX
AUX
6
6
+6
+6
OO
POST
PAN
PAN
L R
MUTE
MUTE
PK!
PK!
PFL
PFL
SIG
SIG
10
5
0
5
10
20
30
9-1011-12
ST1
IN
IN
ST3
IN
L
L
/MONO
/MONO
R
R
IN
ST2
IN
ST4
IN
L
L
/MONO
/MONO
R
R
1
+
L/M
-
ST5
+
R
­MIX
L R
EFFECT
OFF, 1-20
EFFECT
OFF, 1-20
ALLEN&HEATH M ixWizard WZ
+48V
PAD
(LINE)
30
0
40
0
20
20
GAIN
GAIN
50
10- 10
4060
HPF
HF
HF
3k
1k
4k
1k
700
6k
700
500Hz
15k
500Hz
HM
HM
180
70
250
70
45
400
45
35Hz
1k
35Hz
LM
LM
LF
LF
EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN
AUX
AUX
1
1
+6
OO
AUX
AUX
2
2
+6
OO
AUX
AUX
3
3
+6
OO
AUX
AUX
4
4
+6
OO
POST POST PRE
AUX
AUX
5
5
+6
OO
AUX
AUX
6
6
+6
POST
POST
PAN
PAN
RL
MUTE
PK!
PK!
PFL
SIG
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
OOOOOO OO OO OO OO OO OO OO OO
A
OUT
INSERTRINSERT
B
USB 2.0
MULTICHANNEL AUDIO
LR INSERTSABST6 INPUT
The WZ416:2 provides 16 mono mic/line inputs and 2 stereo return inputs, a total of 20 input connec-
0
0
-5
-5
GAIN
5
GAIN
5
-10
-10
10
10
-20
-20
16
16
ON
ON
TO
LR
LR
TO
11-12
TO
(ST3+ST4)
(ST1+ST2)TO
9-10
0
0
-5
-5
GAIN
5
GAIN
5
-10
-10
10
10
-20
-20
16
16
ON
ON
HF
HF
HM
HM
LM
LM
LF
LF
AUX
AUX
1
1
+6
+6
OO
OO
AUX
AUX
2
2
+6
+6
OO
OO
AUX
AUX
3
3
+6
+6
OO
OO
AUX
AUX
4
4
+6
+6
OO
OO
POST
POST
PRE
PRE
AUX
AUX
5
5
+6
+6
OO
OO
AUX
AUX
6
6
+6
+6
OO
OO
POST
POST
BAL
BAL
RL
L R
MUTE
MUTE
PK!
PK!
PFL
PFL
SIG
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
LAMP
AUX
1
Off--
Aux send
Delay1
OO
+6
[tap] [regen]
AUX
2 DelayLF
2
[tap] [LFregen]
DelayHF
3
[tap] [regen]
OO
+6
PingPong4
AUX
[tap] [regen]
3
BeatDelay5
[tap] [regen]
OO
+6
ST6/USB
6 SlapDelay
AUX
[time]
LEV
4
7
Ambient
[size]
8
EchoVerb
OO
+6
OO
0
[reverb]
9
EchoSpace
TO LR
[size]
10
Doubler
[thickness]
11
Plate
AUX5
[decay]
+16
12
PlateDly
AUX6
[predly]
+9
Press
+6
13
PlateEQ
+3
[colour]
0
14
Hall1
-3
[size]
-6
-9
15
Hall2
-12
Parameter
[size]
-16
Hold
16
ConcertHall
-20
[size]
-30
TAP
Arena17
[size]
/ FX
ST5
L
R
SmallSpace18
LEV
POWER
[size]
Flanger19
[intensity]
PFL
OO
+6
Chorus20
[depth]
FX MUTE
PRE
0
10
AUX
1
1
AUX
1-2
OO
+4
2
AUX
AUX
2
3
AUX
OO
+4
3-4
AUX
4
AUX
3
OO
+4
5
AUX
AUX
5-6
4
6
AUX
OO
+4
AUX
/ FX
ST5
5
ST6
OO
+4
AUX
6
M
ALL UP = LR
OO
+4
POST / FX
ALT LR OUT MONITOR
AB
OO
+10
L+R AUX 6
L10R
M
10
10
555
5
0
0
0
5
5
10
10
10
20
20
20
30
30
30
O
OO O
OO
AUX6
tions. The WZ412:2 provides 8 mono mic/line in­puts, 2 full channel dual stereo inputs, and 2 stereo return inputs, a total of 20 input connections.
The base of the console can be removed to access a host of internal user selectable options. These set user preference for the aux, direct output and AB sources.
The aux outputs are impedance balanced but may be electronically balanced if required by fitting an option­al part. A kit is also available to fit an optional USB2 output card which allows the console to be linked to a computer for multitrack recording.
An Allen & Heath LEDlamp gooseneck lamp with built
-in dimmer can also be added for lighting the console in low light conditions.
1
INSERT
INSERT
2
INSERT
3
4
INSERT
5
INSERT
LINE IN
LINE IN
4
5
MIC
MIC
DIRECT
DIRECT
OUT
OUT
4
5
XLR OUT
21
+OUT
3
- OUT
CONFORMS TO ANSI/UL STD. 60065-2003 CERTIFICATED TO CAN/CSA STD.60065-03
Serial No.ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
MADE IN CHINA
LINE IN
3
MIC
DIRECT
OUT 3
LINE IN/OUT
TIP +
RING -
FUSE
T630mA L 250V 20mm
WARNING: THIS APPARATUS MUST BE EARTHED
LINE IN
2
MIC
DIRECT
OUT 2
INSERT
SEND
TIP
RING
RETURN
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
CET APPAREIL DOIT ETRE MIS A LA TERRE
LINE IN
1
MIC
DIRECT
OUT 1
INPUT
+IN
1
2
MIC
- IN
3
TIP +INTIP
LINE
RING -INRING
ONI0OFF
4
16:2 and 12:2 User Guide
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:
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.
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 refit their fixing screws to the unit. Retain and store these in case the trims need to be refitted in the future.
4
16:2 and 12:2 User Guide
Connecting Power
RISK OF ELECTRIC SHOCK
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CAUTION: FOR CONTINUED PROTECTIO N AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER PAR UN FUSIBL E STRICTEMENT IDENTIQUE EN VALEURS.
Laite on liitettävä suojamaado ituskoskettimilla varustettuun pistorasiaan Apparatet må tilkoples jordet stikkontakt Apparaten skall anslutas till jordat uttag
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
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.
CAUTION
DO NOT OPEN
CONFORMS TO ANSI/UL STD. 60065-2003
CERTIFICATED TO CAN/CSA STD.60065-03
MADE IN CHINA
Serial No.ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
FUSE
T630mA L 250V 20mm
WARNING: THIS APPARATUS MUST BE EARTHED
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
CET APPAREIL DOIT ETRE MIS A LA TERRE
ON
OFF
I0
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.
3. 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.
4
16:2 and 12:2 User Guide
Female XLR plug
UNBALANCED
UNBALANCED
PIN 2 = HOT
BALANCED
1=ground
INPUT / OUTPUT
link Ring to Sleeve
XLR male socket XLR female socket
INPUTOUTPUT
21
3
2=hot +
3=cold -
3
2=hot +
12
1=ground
3=cold -
HEADPHONES
Sleeve=ground
INSERT
1+3 = 12V
1
LAMP
BALANCED
UNBALANCED
Ring=RIGHT
Tip=LEFT
3
4 = 0V
XLR male plug
Sleeve=ground
UNBALANCED
BALANCED
Sleeve=ground
Ring=return
adapter
Ring=cold (-)
1=ground
Tip=send
Y-Adapter
1 Output to 2 Inputs
Tip=hot (+)
2=hot (+)
BALANCED
Sleeve=ground
Ring=cold -
Tip=hot +
UNBALANCED
Y-Adapter
2 Outputs to 1 Input
No !
Ring=cold (-)
Tip=hot (+)
2=hot (+)
TO FROM
1=ground
UNBALANCED
BALANCED
Sleeve=ground
BALANCED
RCA PHONO CABLE
UNBALANCED
INSTRUMENT CABLE
TRS JACK CABLE
MIC CABLE
RCA phono jacks
BALANCED
INPUT OUTPUT
3=cold (-)
XLR MALE
BALANCED
TRS to XLR-F CABLE
XLR FEMALE
BALANCED
3=cold (-)
1=ground 2=hot (+)
Yes
Tip=hot (+)
2=hot (+)
3=cold (-)
Sleeve=ground
Ring=cold (-)
1=ground
BALANCED
XLR MALE
TRS to XLR-M CABLE
XLR FEMALE
BALANCED
Sleeve=ground
3=cold (-)
Ring=cold (-)
Tip=hot (+)
Allen & Heath 10 WZ
4
16:2 and 12:2 User Guide
Audio Connections
The MixWizard uses professional grade 3 pin XLR and 1/4" TRS (3 pole) jack sockets. To ensure best perfor­mance, we recommend that you use high quality audio cables and connectors, and take time to check for relia­ble and accurate cable assembly. It is well known that most audio system problems are due to faulty or sub standard interconnecting leads. The following mating plugs may be used to connect audio signals to the console:
XLR female plug
XLR male plug
2 3 1
1 3 2
TS jack plug
TRS jack plug
Sleeve
Sleeve
Tip
RCA phono jacks
Tip
Ring
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 output provides similar interference rejection, but without the signal 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.
Allen & Heath 11 WZ
4
16:2 and 12:2 User Guide
4
ALLEN&HEATH
INSERT
16
INSERT
L
L
R
LINE IN
INSERT
LINE IN
16
15
MIC
MIC
MixWizard WZ
INSERT
15
14
INSERT
INSERT
LINE IN
13 12
LINE IN
14
MIC
LINE IN
13
12
MIC
MIC
INSERT
LINE IN
INSERT
11
LINE IN
10
11
MIC
MIC
9
10
INSERT
LINE IN
9
MIC
INSERT
LINE IN
16:2
7
INSERT
LINE IN
7 6
MIC
INSERT
LINE IN
6
INSERT
5
INSERT
4
LINE IN
LINE IN
5
MIC
4
MIC
MIC
INSERT
LINE IN
INSERT
3
2
INSERT
1
LINE IN
3
MIC
LINE IN
2
1
MIC
MIC
8
8
MIC
R
M
DIRECT
OUT
AB ST2
A
B
MONO CH 15/16 AB
MULTICHANNEL AUDIO
OUT
A
OUT
INSERTRINSERT
B
MULTICHANNEL AUDIO
SENDS 15/16
LR INSERTSABST6 INPUT
L
/MONO
R
USB 2.0
USB 2.0
DIRECT
LRM
DIRECT
OUT
IN
L
/MONO
R
ST2 SOURCESENDS 15/16
ST2 INPUT USB RETURN
L
AUX
ST6 SOURCE
USB RETURN
DIRECT
OUT
OUT
IN AUX5AUX AUX AUXAUX
EXTERNAL FX RETURN
L
/MONO
R
FOOTSWITCH
FX MUTE
L
/MONO
R
5
6 4
EXTERNAL FX RETURN
To reset the FX parameters to factory default: Power up the console while holding down the TAP key and the FX ROTARY switch
DIRECT
DIRECT
OUT
OUT
46ST1
3
+
L/M
-
ST1
+
R
-
MIX
L
EFFECT
AUX5
OFF, 1-20
INTERNAL FX
EFFECT
AUX6
OFF, 1-20
To reset the FX parameters to factory default: Power up the console while holding down the TAP key and the FX ROTARY switch
EXT FX
ST5
IN
L
/MONO
R
IN
ST6
L
/MONO
R
3
AUX AUXAUXAUX
L/M
ST5
R
EFFECT
AUX5
OFF, 1-20
INTERNAL FX
EFFECT
AUX6
OFF, 1-20
R
9-1011-12
ST1
ST3
IN
IN
L
/MONO
R
IN
ST2
IN
ST4
L
/MONO
R
1
+
-
+
-
MIX
L R
DIRECT
DIRECT
OUT
910111213141516
AUX2SEND
1
DIRECT
OUT
FX MUTE
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH S AME TYPE AND RATING. ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan Apparatet må tilkoples jordet stikkontakt Apparaten skall anslutas till jordat uttag
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
OUT
DIRECT
OUT
FOOTSWITCH
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
DIRECT
OUT
DIRECT
OUT
CONFORMS TO ANSI/UL STD. 60065-2003
CERTIFICATED TO CAN/CSA STD.60065-03
Serial No.ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
MADE IN CHINA
DIRECT
OUT
XLR OUT
LINE IN/OUT
2
1
+OUT
3
- OUT
FUSE
T630mA L 250V 20mm
DIRECT
DIRECT
OUT
OUT
2
INSERT
SEND
TIP +
TIP
RING -
RING
RETURN
100 - 240V~ 47-63Hz 45W MAX
WARNING: THIS APPARATUS MUST BE EARTHED
CET APPAREIL DOIT ETRE MIS A LA TERRE
AC MAINS IN ~
TIPTIP +IN RINGRING -IN
DIRECT
OUT
12345678
INPUT
+IN
1
MIC
- IN
3
LINE
ONI0OFF
MixWizard WZ412:2ALLEN&HEATH
1
INSERT
8
INSERT
LINE IN
DIRECT
SEND2AUX
LINE IN
8
MIC
DIRECT
OUT
8
INSERT
7
6
MIC
OUT
6
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
LINE IN
DIRECT
5
MIC
OUT 5
LINE IN
7
MIC
DIRECT
OUT
7
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.
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan Apparatet må tilkoples jordet stikkontakt Apparaten skall anslutas till jordat uttag
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
LINE IN
4
MIC
DIRECT
OUT
4
CONFORMS TO ANSI/UL STD. 60065-2003
CERTIFICATED TO CAN/CSA STD.60065-03
MADE IN CHINA
LINE IN
3
MIC
DIRECT
OUT
XLR OUT
21
+OUT
3
- OUT
T630mA L 250V 20mm
Serial No.ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED
INSERT
4
INSERT
5
INSERT
6
INSERT
3
LINE IN
MIC
DIRECT
3
LINE IN/OUT
INSERT
SEND
TIP +
RING -
RETURN
FUSE
AC MAINS IN ~
100 - 240V~ 47-63Hz 45W MAX
WARNING: THIS APPARATUS MUST BE EARTHED
CET APPAREIL DOIT ETRE MIS A LA TERRE
INSERT
2
LINE IN
2
OUT
2
1
MIC
DIRECT
OUT
1
INPUT
+IN
1
2
TIP
RING
MIC
- IN
3
TIP +INTIP
LINE
RING -INRING
ONI0OFF
Allen & Heath 12 WZ
4
16:2 and 12:2 User Guide
The Console connectors
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.
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 WZ412:2 has six stereo inputs comprising four chan-
nel inputs ST1,3 (unbalanced) and ST2,4 (balanced), and an additional two stereo returns ST5 (balanced) and ST6 (unbalanced). The WZ416:2 has two stereo return inputs ST1 (balanced) and ST2 (unbalanced). All inputs use TRS jacks. Unbalanced inputs automatically connect the TRS ring to ground for working with balanced sources. The L input is normalled through the R input to accept mono signals.
L R
Note that the ST5 (WZ412:2) or ST1 (WZ416:2) stereo return input mixes with the internal effects processor return. This means that an external effects device fed from a different aux mix can mix with the internal processor to save input channels. Alternatively, you could turn the internal unit off and use the ST5 (ST1) input with an external unit only if preferred.
2
EXTERNAL FX RETURN
AUX5
INTERNAL FX
AUX6
TIPTIP +IN
RINGRING -IN
L/M
ST1
R
INPUT
1
3
EFFECT
OFF, 1-20
EFFECT
OFF, 1-20
+IN
- IN
+
-
+
-
MIC
LINE
MIX
WARNING: Do not connect unbalanced sources or cables to
SEND
RETURN
INSERT
TIP
RING
INSERT A single 3-pole TRS jack carries the unbalanced 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:
PROCESSOR
RETURN
INSERT
SEND
GROUND
RETURN
SEND
LINK RING TO SLEEVE TO UNBALANCE
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.
OUT
IN
Allen & Heath 13 WZ
4
16:2 and 12:2 User Guide
L, R, M OUT The main console mix outputs are on balanced XLR. These produce +4dBu when the meters read ‘0’. The M output can be switched to provide a mono sum of the post-fade L and R signals, or the AUX6 output.
The L and R outputs typically feed the house PA system in live sound mixing, or a 2­track recorder in studio mixing. In mono mode, the M output can provide an addition­al feed for a mono fill speaker or zone, or be used as the main feed into a mono PA. Used with a mono PA the L and R mix can provide a pair of subgroups, each with rout­ing using the channel PAN controls, inserts and faders. Configured to provide the AUX6 mix, the M output is ideal for driving a sub bass speaker system when working with an ‘aux fed subs’ PA. This provides the sub feed with its own per-channel mix on balanced XLR and with dedicated fader alongside the main LR faders for proper control of the house volume.
AB OUT A pair of impedance balanced TRS jacks can be configured to provide an additional LR mix or engineers monitor send. These operate at -2dBu line level. A front panel recessed ‘mode’ switch determines the source to the AB output. This may be set to follow the console monitor system and therefore feed an independent local stereo monitor or even engineers wedge speaker. When set to follow the LR mix, the factory default source is taken post LR fader. An internal option jumper is available to change this to pre LR fader.
Footswitch
The unique AB output feature provides the MixWizard with a host of possibilities… independent 2-track recording feed, broadcast feed, zone and delay fill feeds, local monitor, engineers wedge monitor and more.
AUX OUT 1-6 Each aux send is available on an impedance balanced TRS jack oper­ating at -2dBu line level. An internal option is available to fit a balanced line driver IC to provide an electronically balanced output operating at +4dBu. Note that it is not usual to require this option as the impedance balanced standard drive provides signifi­cant interference rejection when feeding balanced equipment inputs.
The aux sends are typically used to feed stage monitors, effects devices such as reverb and delay, and for special mix requirements.
FOOTSWITCH Mutes and unmutes the ST5 (ST1) effects return channel, ideal for bypassing the effects between songs. Note that this affects the internal processor and also any external effects device that may be plugged in to these return inputs. Use a momentary or latching footswitch as required. Shorting a TS or TRS jack tip to sleeve turns the mute on.
USB II OPTION A blank plate is fitted here as standard. The USB II option kit is available from Allen & Heath. Refer to OPTIONS later in this guide.
Allen & Heath 14 WZ
4
16:2 and 12:2 User Guide
The MONO Input Channel
GAIN
HM
LM
+48V
PAD
(LINE)
30
40
0
20
50
10- 10
4060
HPF
HF
3k
1k
4k
700
6k
500Hz
15k
phones 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 ca-
bles 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 in-
put. Release the switch to select the XLR MIC input. The XLR normals through the TRS socket. With nothing plugged into the line input the
+48V Switches +48VDC to the channel input XLR for powering micro-
180
70
250
45
400
35Hz
1k
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 Adjusts the input sensitivity to match the connected source to the internal 0dBu operating level of the channel. Provides a variable 50dB
LF
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’
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
PAN
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 microphone popping, stage noise and tape transport rumble.
EQ A 4-band semi parametric EQ provides independent control of four frequency bands. HF and LF are shelving filters which affect high frequen­cies above 12kHz, and low frequencies below 80Hz 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
RL
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
OO
really needed. The EQ IN button can be used to compare the EQ with a flat response. When dealing with problem frequencies cut rather than boost where possible.
+20 +20
+15
+10
+5
0dB
-5
-10
-15
-20
+5
0dB
-5
-10
-15
-20
-25
-30
-35
-40
+15
+10
+5
0dB
-5
-10
-15
-20
20k10k5k2k1k5002001005020
20 50 100 200 500 1k 2k 5k 10k 20k
+20
+15
+10
+5
0dB
-5
-10
-15
-20
10k5k2k1 k500200100502010
20k10k5k2k1k50020 01005020
Allen & Heath 15 WZ
4
16:2 and 12:2 User Guide
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 adjust from fully off to +6dB boost. Unity gain 0dB is marked at 3 o’clock position. Factory default settings should satisfy the most common applica­tions:
AUX1, AUX2 = Pre-fade AUX3, AUX4 = Switched pre/post using PRE switch AUX5, AUX6 = Post-fade
Pre-fade aux options: Pre-INSERT, pre-EQ, post-MUTE
These settings may be changed if preferred by repositioning internal jumper link / solder link options. They offer many different combinations of pre and post-fade sends, and a post-EQ option for the pre-fade sends. The PRE switch can be assigned to one, two or more of the sends. More detail is provided in OPTIONS later in this guide.
Pre-fade aux sends are not affected by the channel fader movements. These are typically used to feed stage monitors. In most cases users 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. Pre or post-fade sends may also be used for special applications such as recording, zone feeds, clean feeds and aux fed subs.
PRE When pressed the pre-fade channel signal is sent to the associated auxes. When released the post-fade signal is sent. Auxes 3 and 4 are affect­ed by the PRE switch (factory default). You can change this to dedicated pre
-fade using the internal options.
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 pre­fade 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 jumper. The fader provides +10dB maximum boost above its normal unity gain 0dB position.
GAIN
HM
LM
+48V
PAD
(LINE)
30
40
0
20
50
10- 10
4060
HPF
HF
3k
1k
4k
700
6k
500Hz
15k
180
70
250
45
400
35Hz
1k
LF
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
PAN
RL
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
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
30
to 0 positions according to the mix. We do not recommend setting the faders to ‘0’ and mixing using the GAIN controls.
OO
Allen & Heath 16 WZ
4
16:2 and 12:2 User Guide
The STEREO Input Channel
0
-5
GAIN
5
-10 10
-20
16
ON
TO
LR
(ST1+ST2)T O
9-10
0
-5
GAIN
5
-10 10
-20
16
ON
HF
HM
LM
LF
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
BAL
L R
MUTE
PK!
PFL
SIG
10
5
0
5
10
(WZ4 12:2 only)
Dual stereo inputs Each of the two stereo channels has two stereo inputs which can be used separately, mixed together or split so that one feeds the channel, the other routes direct to LR. For example, you could mix two sound effects playback devices or two reverb returns together into one channel. This can be useful in saving channels, letting you mix many inputs in a small space. The L input signal normals through the R input socket so that a mono source may be plugged in to feed both left and right sides of the stereo channel.
ST1 (ST3) Unbalanced TRS inputs. The GAIN control adjusts from fully off to +16dB gain. Press the ST1 (ST3) switch to turn the input on.
Routing mode switch Recessed switch to prevent accidental operation. In the normal up position the ST1 (ST3) signal mixes with ST2 (ST4) into the stereo channel. When pressed the signal is routed direct to the LR mix instead of the channel. This lets you use these inputs as simple stereo returns in addi­tion to the full stereo channels, providing four independent stereo sources to the LR mix.
ST2 (ST4) Balanced TRS inputs. The GAIN control adjusts from fully off to +16dB gain. Press the ST2 (ST4) switch to turn the input on. These inputs always feed the stereo channels.
EQ A 4-band fixed frequency EQ provides independent control of four fre­quency bands. HF and LF are shelving filters which affect high frequencies above 12kHz, and low frequencies below 80Hz respectively. HM and LM are bell shaped peak/dip filters which affect frequencies centred around 2.5kHz and 250Hz respectively. These have a width (Q) of 1.8. All bands can be boosted or cut by up to 15dB and have a centre detented 0dB position.
AUX SENDS These work as described for the mono channel. The L and R sides of the stereo signal sum together to feed each aux in mono. This can be changed using an internal solder 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 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 pre­fade signal is greater than -12dBu.
20
FADER Controls the channel level feeding the main LR mix and post-fade aux sends. It also affects the direct output if this has been set to post-fade using the internal option jumper. The fader provides +10dB maximum boost above its
30
OO
normal unity gain 0dB position.
Allen & Heath 17 WZ
4
16:2 and 12:2 User Guide
The STEREO Effects Channel
AUX
Off--
Aux send
Delay1
[tap] [regen]
2 DelayLF
[tap] [LFregen]
DelayHF
3
[tap] [regen]
PingPong4
[tap] [regen]
BeatDelay5
[tap] [regen]
6 SlapDelay
[time]
7
Ambient
[size]
8
EchoVerb
[reverb]
9
EchoSpace
[size]
10
Doubler
[thickness]
11
Plate
[decay]
12
PlateDly
[predly]
13
PlateEQ
[colour]
14
Hall1
[size]
15
Hall2
[size]
16
ConcertHall
[size]
Arena17
[size]
SmallSpace18
[size]
Flanger19
[intensity]
Chorus20
[depth]
1
AUX
2
AUX
3
AUX
4
ST5
LEV
OO
AUX5
AUX6
OO
OO
OO
Hold
/ FX
OO
+6
+6
+6
+6
Press
Parameter
TAP
+6
FX MUTE
The MixWizard WZ416:2 and WZ412:2 feature a built-in stereo digital effects proces­sor. The processed signal is routed back to the mix through the ST1 (ST5) stereo return channel. The two stereo effects mix together into the return channel. The ST1 (ST5) TRS jack inputs mix with the internal effects processor through the return channel. This allows you to have the internal and external effects devices returning their processed signals through one return channel.
AUX SENDS The combined effects signal can be returned to Auxes 1 to 4. These sends are not affected by the ST1 (ST5) LEV control which returns the signal to the LR mix. The stereo signal is summed to feed the auxes in mono. This can be changed if preferred by repositioning internal jumper options so that L feeds auxes 1,3, and R feeds auxes 2,4. Use the aux sends to add the effects to the monitors if required.
Selecting the effect Use the soft touch effects wheel to scroll through all 20 effects. Press and release the effects wheel to toggle between the two effects channels on Aux 5 and Aux 6. The effect names and adjustable parameter are printed on the front panel for reference.
Changing effects parameters Preset parameters can be edited by holding down the tap button and turning the effects wheel (value P0 to 9). The parameter to be changed for each effect is listed below the effect name in square brackets.
Tap effects Effects that include a tap parameter will have a flashing decimal point on the right hand side of the display. Tapping the button will change the tempo shown. Tap effects are marked with [tap] on the effects list on the front of the mixer.
Turning off the internal effects Once you have scrolled through all 20 effects the display will show a line to indicate that the effects on this channel are switched off.
Dual Effects Crossfeed The effects channels can be combined to allow one effect to feed another which gives more control over interaction between effects.
The effects on Aux 5 can be fed into the Aux 6 effects by holding down the tap button and the effects wheel while turning the wheel to select the amount mixed in. The value L0 to 9 indicates the amount of effect mixed between channels. The left hand decimal point comes on to show that this feature is being used. The AUX5 channel pot now controls this dual effect. The effect is sent through the AUX5 effects processor and then through the AUX6 effects processor. The feeds are mixed in parallel as shown in the diagram opposite. The AUX6 channel pot continues to control the amount of the select­ed channel sent to only the AUX6 effects processor.
ST1 (ST5) LEV Returns the combined stereo effects to the main LR mix. Adjust from fully off to +6dB maximum boost. Normal 3 0’clock 0dB operating position is marked on the panel.
FX MUTE Press this switch to mute the stereo return channel. This turns off the
EXTERNAL EFFECTS RETURN
L/M
R
+
-
+
-
effects feed to the LR mix and auxes 1-4. The channel may also be muted using a footswitch plugged into the rear of the console. The red indicator lights when the chan­nel is muted by the MUTE switch and/or the footswitch. Note that the MUTE switch is latching. This means the effects will remain muted as long as the switch is in its pressed position regardless of the footswitch.
AUX 5 Channel level
AUX 6 Channel level
EFFECT
OFF, 1-20
Crossfeed level L 0 - 9
EFFECT
OFF, 1-20
To FX level and mute circuit
Resetting the effects presets
To restore the factory default presets hold down
the TAP key and the effects wheel while powering up the console. Make sure you do this while the amplifiers are turned off. The display will flash some scrolling lines to confirm the reset.
Allen & Heath 18 WZ
4
16:2 and 12:2 User Guide
The Master Section
AUX MASTERS
Each aux mix has a master level control that 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.
PRE
AUX
1
POST / FX
L
1-2
+4
+4
3-4
+4
5-6
+4
+4
+4
R
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
AUX
/ FX
ST5
ST6
M
ALL UP = LR
ALT LR OUT MONITOR
AB
OO
+10
L+R AUX 6
M
Note that the AUX5 and AUX6 master controls do not affect the level sent to the internal effects processor. They do affect the level available at the rear panel aux output sockets.
LR FADER MASTERS
Individual faders adjust the main L-R mix level. They provide +10dB boost above the nominal ‘0’ position. For best performance the faders should be operated around the ‘0’ position for normal ‘loud’ level. If you find yourself operating significantly below ‘0’ then the amplifier or other desti­nation equipment is too sensitive for the console +4dBu output. Simply turn down the amplifier or equipment level trim. If none is available then insert an attenuator pad between the console and connected equipment. Operating the faders well below ‘0’ may degrade the noise performance of the equipment.
M FADER MASTER
A recessed mode switch above the M fader selects
the fader source.
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,
10
10
10
mono fill or delay speaker, additional zone, mono recording and so on.
5
5
5
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 re-
0
0
5
10
0
5
5
10
10
quired signals to the M output. This provides a main console output with its own mix bus. Typical applications include:
Dedicated MONO mix The output feeds a centre mono fill speaker system, for example above the proscenium arch or along the front of the stage in a thea-
20
20
20
tre. 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.
30
30
30
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 frequen-
O
OO
OO O
cy information to the sub speakers. It can dramatically clean up the mix as non­bass channels such as vocals and guitars are kept out of the subs and therefore do
AUX6
not allow low frequency pickup to muddy the mix. It is typical to include only sources such as kick drum, bass guitar, keyboards and sound effects to these speakers.
The unique MixWizard aux mode feature puts the master control of the sub mix on to a fader next to the main LR faders. This means that the house volume can be controlled without upsetting the balance between LR and sub speakers. The feed to the sub speaker system is on balanced XLR, and it can be monitored by selecting the M switch in the headphones monitor section.
Allen & Heath 19 WZ
4
16:2 and 12:2 User Guide
ST6/USB
LEV
OO
L
PFL
+16
+9 +6 +3
-12
-16
-20
-30
ST2 (ST6) 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. Adjust the volume using the LEV control. Route the signal to LR by pressing the TO LR switch. The green LED lights to warn that the source is routed to LR.
You can use the ST2 (ST6) input to monitor your 2-track recording. Press the ST2 (ST6) monitor source select switch. Use the AB output to feed your recorder. If you are monitoring while mixing live, make sure you do
0
TO LR
not accidentally press the TO LR switch and route your recording to the house speakers.
Console Monitor Comprehensive engineer’s headphones monitoring is provided. Select the source to listen to using the monitor switch bank. With no switch pressed the post-fade LR mix is monitored. Press M to lis­ten to the post-fade M source. Pressing any switch higher up the bank over­rides the previous selection. Pressing ST1 (ST5) listens to the wet effects
0
-3
-6
-9
only return signal if the internal effects processor is active. Pressing Aux pairs 1-2, 3-4, 5-6 together listens to the two selected auxes as a stereo pair. The two console meters display the selected monitor source signal level.
Pressing channel PFL switches automatically overrides the current monitor selection with the pre-fade signal from that channel or selection of channels.
R
POWER
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.
0
10
1
AUX
1-2
2
AUX
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.
3
AUX
3-4
4
AUX
AB OUTPUT
This is an additional stereo output that can be config-
ured as a separately controlled mix output or a local loudspeaker monitor
5
AUX
5-6
6
AUX
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.
/ FX
ST5
With the mode switch in its up position, the LR mix is selected as the source
ST6
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
M
ALL UP = LR
ALT LR OUT MONITOR
AB
jumpers so that the LR master fader movements do not affect the output. In LR mode the AB output provides an additional main mix output ideal for independent fill speaker control, 2-track recording or broadcast feed and so on.
With the mode switch pressed, the console monitor system is selected as the source. You can use this to feed local monitor speakers to listen to the
OO
+10
source selected on the monitor switch bank interrupted by PFL. Local speaker monitoring can be useful in theatre and stage monitoring applica­tions.
Allen & Heath 20 WZ
4
16:2 and 12:2 User Guide
Gain Structure
How the levels between the different signal stages are set up is referred to as the gain structure. For best performance it is important that the connected source 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.
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 is the extra level available above normal to allow for loud peaks before the signal becomes clipped resulting in audible distortion. The signal-to-noise ratio (SNR) is the difference measured in dB between nor­mal level and residual noise floor (hiss) produced by the console electronics. The dynamic range is the sum of headroom and SNR representing the maximum signal range possible from quietest to loudest.
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.
+20
+16
+12
+9
+6
HEADROOM
+3
+1
0
-1
-3
-6
-9
-12
-16
-20
NORMAL OPERATING RANGE
-30
-40
-50
-60
-70
SIGNAL-TO-NOISE RATIO
-80
-90
CLIPPING
SIGNAL
DYNAMIC RANGE
!
NOISE
Allen & Heath 21 WZ
4
16:2 and 12:2 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 10Hz to 30kHz +/-0.5dB
THD+n at +10dBu 1kHz Channel to mix out < 0.004%
Crosstalk at 1kHz Fader shutoff >90dB
Channel mute >90dB Inter channel >90dB
Noise, rms 22Hz to 22kHz Mic EIN -127dB
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 100-240V, 50/60Hz auto sensing, IEC input Power consumption 45W 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 W4-122 unpacked 11kg (24lbs) W4-122 packed 14kg (31lbs) W4-162 unpacked 13kg (28lbs) W4-162 packed 16kg (35lbs)
Allen & Heath 22 WZ
4
16:2 and 12:2 User Guide
Connections
Mono channel XLR balanced pin 2 hot Sensitivity -60 to +10dBu TRS balanced, tip hot Sensitivity -40 to +10dBu Pad out (MIC) 2k ohm Pad in (MIC or LINE) >10k ohm, -20dB Max input level +30dBu XLR phantom power +48V, on/off
Stereo channel ST1,3 TRS unbalanced >10k ohm, -16 to +20dBu ST2,4 TRS balanced >10k ohm, -16 to +20dBu
Stereo returns ST1(5) TRS balanced >10k ohm, -6 to +20dBu ST2(6) TRS unbalanced >2k ohm, -2 to +20dBu
Inserts Channel TRS, tip send, ring return, 0dBu Output TRS, tip send, ring return, -2dBu
L, R, M outputs XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max
Aux 1-6 output TRS impedance balanced <75 ohm, -2dBu, +21dBu max Electronic balance option <75 ohm, +4dBu, +26dBu max
Direct out TRS impedance balanced <75 ohm, 0dBu, +21dBu max
AB out TRS impedance balanced <75 ohm, -2dBu, +21dBu max
Headphones TRS, tip L, ring R, 30 to 600 ohm headphones recommended
Lamp 4-pin XLR max 12V 5W lamp
MixWizard 4 Series Part Numbers
WZ412:2 8 mic/line, 2 dual stereo, LR console W4-122 WZ416:2 16 mic/line LR console W4-162 WZ414:4:2 10 mic/line, 2 dual stereo, 4 group console W4-1442
WZ412:2,WZ416:2 & WZ414:4:2 USB2 option kit 004-232JIT
SSM2142P balanced output driver option IC AE0302 DRV134 balanced output driver option IC (alternative to above) AE5725
Allen & Heath 18” gooseneck LED lamp LEDLAMP
Allen & Heath 23 WZ
4
16:2 and 12:2 User Guide
WZ4 16:2 Block Diagram
MIC/LINE INPUTS
AUX 5
AUX 6
IMPEDANCE BALANCED
EFFECTS
R
-+-
BALANCED 0dBu
MUTE
ST1 IN (EXT EFFECTS IN)
L/M
STEREO RETURN 1
+
TO MONITOR
FROM AUX5,6
OFF, 1-20
OFF, 1-20
EFFECT
EFFECT
FOOTSWITCH
L/M
R
ST2 IN
UNBALANCED -2dBu
MONO/STEREO AUX SOURCE
STEREO RETURN 2
ST2 TO LR
TO MONITOR
LR
+
SUM
+
SUM
+
M S
JP1
LR
AUX1
AUX2
AUX3
AUX4
DIRECT OUT
0dBu
RING= -
TIP= +
DIR JUMPER
POST-FADE
PRE-FADE
SW = SWITCHED
PO = POST-FADE
PR = PRE-FADE
OPTIONS
JS2
PR
1AUX 2
SW
JS1
JS4
PR
3
SW
JS3
4
JS6
PO
5
SW
JS5
JS8
PO
6
SW
JS7
RING= RETURN
PRE-INSERT
PCB
SOLDER
PRE
BALANCED TIP= +
INSERT
0dBu
LINE
TIP= SEND
LF
POST-EQ
AUX JUMPER
MIC
2= +
LINE (PAD)
-20dB
48V
GAIN
+
-
HPF
4 BAND EQUALISER
LM
HM
HF
EQ IN
SIG
FADER
PFL
MUTE
PAN
WZ4 16:2
PHANTOM POWER
PK
AUX 1-6 LEFT RIGHT PFL
AUX5,6 TO FX, AUX6 TO C
FROM AUX6
MONO SUM
AUX6
M FADER
BAL
R MIX
+
SUM
M
2 = +
M OUT
+4dBu
+4dBu
L MIX
ST1 (EFFECTS)
ST2
M
ALL UP= L-R
INSERT
-2dBu
R FADER
BAL
INSERT
-2dBu
L FADER
POST-FADE
PRE-FADE
L-R
MONITOR
LEV
A-B
A-B
-2dBu IMPEDANCE BALANCED
B OUT
TIP= +
BAL
A OUT
TIP= +
AUX4
AUX5
AUX6
STEREO 3-4
STEREO 5-6
L-R
2 = +
RIGHT OUT
2 = +
LEFT OUT
+4dBu
MONITOR SELECT
AUX1
AUX2
AUX3
STEREO 1-2
LEV
L
R
HEADPHONES
PFL DC
PFL MIX
ACTIVE
PFL
L
R
MONITOR METERS
MONITOR
AUX MIX
AUX SENDS 1-6
AUX1-6 TO MONITOR
+4dBu BAL OPTION
IMPEDANCE BALANCED
-2dBu
MASTER
AUX OUT
TIP= +
Allen & Heath 24 WZ
4
16:2 and 12:2 User Guide
WZ4 12:2 Block Diagram
AUX 5
AUX 6
ST5 IN (EXT EFFECTS IN)
DUAL STEREO INPUTS
EFFECTS
OFF, 1-20
OFF, 1-20
EFFECT
STEREO RETURN
L/M
R
ST6 IN
UNBALANCED -2dBu
ST2 TO LR
TO MONITOR
LR
EFFECT
+
FOOTSWITCH
MONO/STEREO AUX SOURCE
SUM
+
JP1
SM
AUX4
AUX3
AUX2
AUX1
L/M
R
STEREO RETURN
+-+
-
BALANCED 0dBu
SW = SWITCHED
PO = POST-FADE
SUM
+
MUTE
FROM AUX5,6
TO MONITOR
LR
PR = PRE-FADE
AUX
PR
B A D C F E H G J I L KJUMPER OPTIONS
1
SW
PR
2
SW
PR
3
SW
PR PO
4
SW
PO
5
SW
6
SW
INPUT ST2(4)
R
+
-
GAIN
ON
M S M S
CN4
MONO/STEREO AUX
PRE
++
CN5
INPUT ST1(3)
L/M
+
-
PRE-FADE POST-FADE
FADER
L/M
R
IMPEDANCE BALANCED
GAIN
ON
CH
LR
+
4 BAND EQUALISER
HMLFLM
HF
PO = POST-FADE
PR = PRE-FADE
EQ IN
SUM
SIG
+
MUTE
PFL
PAN
SW = SWITCHED
PK
MIC/LINE INPUTS
DIRECT OUT
0dBu
RING= -
TIP= +
DIR JUMPER
POST-FADE
PRE-FADE
PRE-INSERT
PCB
SOLDER
OPTIONS
JS2
PR
1AUX 2
JS1
SW
JS4
PR
3
JS3
SW
4
PO SW
5
PO
6
SW
PRE
JS6
JS5
JS8
JS7
BALANCED
INSERT
0dBu
TIP= SEND
RING= RETURN
LF
AUX JUMPER
POST-EQ
MIC
LINE
2= +
TIP= +
LINE (PAD)
-20dB
GAIN
-
+
HPF
LM
HM
HF
EQ IN
FADER
MUTE
PAN
WZ4 12:2
48V
PHANTOM POWER
4 BAND EQUALISER
SIG
PK
PFL
AUX 1-6 LEFT RIGHT PFL
AUX5,6 TO FX, AUX6 TO C
FROM AUX6
MONO SUM
AUX6
2 = +
+4dBu
R MIX
+ SUM
M FADER
BAL
M
M OUT
+4dBu
L MIX
M
ST6
ST5 (EFFECTS)
AUX6
AUX5
ALL UP= L-R
PRE
R
INSERT
-2dBu
R FADER
BAL
INSERT
-2dBu
L FADER
BAL
L RL
L-R
POST-FADE
MONITOR
LEV
A-B
A-B
-2dBu IMPEDANCE BALANCED
B OUT
TIP= +
A OUT
TIP= +
AUX4
STEREO 5-6
L-R
2 = +
2 = +
RIGHT OUT
LEFT OUT
+4dBu
MONITOR SELECT
AUX3
AUX2
AUX1
STEREO 1-2
STEREO 3-4
LEV
R
L
HEADPHONES
PFL DC
PFL MIX
ACTIVE
PFL
L
R
MONITOR METERS
MONITOR
AUX MIX
AUX SENDS 1-6
AUX1-6 TO MONITOR
+4dBu BAL OPTION
IMPEDANCE BALANCED
-2dBu
MASTER
AUX OUT
TIP= +
Allen & Heath 25 WZ
4
16:2 and 12:2 User Guide
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. pluggable jumper links are used in most places and also some links require cutting and soldering a solder bridge.
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
Jumper 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.
Solder Options:
Solder options require some ability with a soldering iron, if you have any res­ervations then please contact your local service centre to carry out this pro­cedure for you.
See page opposite for details on how to modify the solder options.
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.
AUX PRE/POST FADER
(SOLDER OPTION,
PCB UNDERSIDE)
AUX PRE/POST INSERT/EQ
DIRECT OUT PRE/POST FADER
IMPORTANT:
set as required. Errors on one or more channels now may cause user prob­lems later. We recommend that you write the repositioned option settings on a label and adhere this to the rear panel. This would provide a helpful reference to other users of the console.
MONO INPUT STEREO INPUT (12:2)
AUX STEREO/MONO
AUX PRE/POST FADER
Check carefully that all channel options are correctly
AUX MASTER MASTER LR
AUX BALANCE OPTION
AB PRE/POST LR FADER
ST AUX STEREO/MONO
Allen & Heath 26 WZ
4
16:2 and 12:2 User Guide
MONO CH - AUX PRE/POST EQ
PR
AUX
PO
DIR
PR PO
MONO CH - DIRECT OUT
PR
AUX
PO
DIR
PR PO
MONO CH - AUX PRE/POST FADER
JS2
JS1
JS4
JS3
PR=PRE PO=POST SW=SWITCH
CUT TRACK HERE
SW
PR AUX 1-2
PR AUX 3-4
PR
SW
SW
PO
AUX 5
AUX 1-2
Aux pre/post insert/EQ
Factory default for the mono chan-
nel pre-fade auxes is pre-insert, pre-EQ. This is popular with many users mixing monitors from FOH. It prevents the channel EQ and inserted compressors affecting the monitor mix. Move the jumper from PR to PO 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 multitrack. The live mix fader movements do not affect the recording. Move the jumper from PR to PO to change to post-fade. Post-fade is appropriate when using the output as a direct channel effects send.
Mono Channel Aux pre/post settings
JS6
JS5
JS8
JS7
fault is Aux 1-2 = pre-fade, Aux 3-4 = switched, Aux 5-6 = post-fade. You
Factory de-
can change these settings for different combinations of pre/post or
SW
PO
AUX 6
SW
switched auxes by cutting and resoldering the links. Refer to the system block diagram to explore the possibilities. Make sure you set all mono and stereo channels the same. Before you make your choice, consider whether you want to use AUX5 or 5/6 for the internal effects (should be
SOLDER BLOB HERE
post) and/or AUX6 to feed aux fed subs (also post). We recommend you only change these settings if absolutely necessary.
Solder Options:
Cut tracks with a sharp knife and ensure that any
cuts don't extend beyond the marked area. Add a solder blob to connect the adjoining pads. If you have any doubts about this procedure please contact Allen & Heath and we will put you in touch with your nearest service centre.
STEREO CH - AUX PRE/POST FADER
PR=PRE PO=POST SW=SWITCH
STEREO CH - MONO/STEREO AUXES
CN5
CN4
POST-FADE AUXES
STEREOMONO
PRE-FADE AUXES
STEREOMONO
AUX MASTER - ST1(5) MONO/STEREO
JP1
ST1(5) AUX SOURCE
STEREOMONO
Stereo Channel Aux pre/post settings
default is Aux 1&2 = pre-fade, Aux 3&4 = switched, Aux 5&6 = post-fade.
ABCDEFGHIJKL
SWPRSWPRSWPRSWPRSWPOSWPO
AUX23456
1
Configure as mono channel but connections are using jumpers instead of solder links.
Factory
Stereo/Mono aux source
auxes with a mono sum of L+R, or be configured so that L feeds the odd numbered auxes, and R the even. This is preferred when using odd/even auxes as stereo pairs. Factory default is the mono setting. Note that you should also set the ST1 (ST5) stereo/mono jumper to the same position.
The stereo channels can feed the
Effects return stereo/mono aux source
channel ST1 (5) feeds Auxes 1-4 with a mono sum of the stereo signal. If you are working with stereo auxes you can reconfigure this for stereo with L feeding Auxes 1, 3 and R feeding Auxes 2, 4.
The return
LR MASTER - AB SOURCE
A
B
C
D
AB PRE/POST LR FADER
LRLR
PRE
POST
AB source pre or post LR faders
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.
Allen & Heath 27 WZ
The factory default is
4
16:2 and 12:2 User Guide
AUX MASTER - BALANCED OUTPUT OPTION
U12 U11 U10 U9 U8 U7
1
AUX6 AUX5 AUX4 AUX3 AUX2 AUX1
CUT OUT TWO RESISTOR LINKS
INSERT DRIVER 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:
SSM2142 A&H Part AE0302
DRV134 A&H Part AE5725
For each aux master, snip the legs of the two zero ohm resistor links as shown. This removes them from the circuit. Now solder 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.
WZ4 12:2
WZ4 16:2
USB 2.0
MULTICHANNEL AUDIO
SENDS 15/16
LR INSERTS AB
SENDS 15/16
MONO CH 15/16
AB
USB 2.0
MULTICHANNEL AUDIO
ST6 SOURCE
ST6 INPUT USB RETURN
ST2 SOURCE
ST2 INPUT USB RETURN
NOTE: This procedure will require the use of a soldering iron. If you have any doubts please contact Allen & Heath and we will put you in touch with your nearest service cen­tre.
USB OPTION
A blanking plate is fitted over the
rear USB socket as standard.
A USB multi-channel option card is available, the part number is shown below:
004-232JIT WZ4 USB AUDIO OPTION
This is a high quality audio card that sends 16 channels from the mixer to a computer for recording or pro­cessing. A stereo channel is returned to the mixer for monitoring purposes or as an effects return path.
For the 12:2 the card sends the following channels to the computer: Mono channels 1-8 direct out, Aux out­puts 1-6, Left/right insert sends OR AB outputs.
For the 16:2 the card sends the following: Mono chan­nels 1-14 direct out, Mono channels 15 & 16 direct out OR AB outputs.
The ST2(ST6) source can toggled between the computer return feed or the input sockets mounted at the rear of the mixer.
For full details please refer to the WZ4 USB option application note AP8987 and fitting instructions AP8988.
Allen & Heath 28 WZ
4
16:2 and 12:2 User Guide
Cue Sheet WZ412:2
Copy and use this page to record your console settings
4
ALLEN&HEATH MixWizard WZ
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
10- 10
4060
HPF
HF
3k
1k
4k
700
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
10- 10
4060
HPF
HF
3k
1k
6k
4k
700
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
10- 10
4060
HPF
HF
3k
1k
6k
4k
700
6k
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
12:2
+48V
PAD
(LINE)
30
40
0
20
GAIN
10- 10
HPF
HF
3k
1k
4k
700
500Hz
15k
HM
180
70
250
45
35Hz
1k
LM
LF
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
4060
50
10- 10
4060
HPF
HF
3k
1k
6k
400
4k
700
500Hz
15k
HM
180
70
250
45
35Hz
1k
LM
LF
+48V
PAD
(LINE)
30
40
0
20
GAIN
10- 10
4060
HPF
HF
3k
1k
6k
400
4k
700
500Hz
15k
HM
180
70
250
45
35Hz
1k
LM
LF
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
50
10- 10
4060
HPF
HF
3k
1k
6k
400
4k
700
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
+48V
PAD
(LINE)
30
40
0
20
GAIN
50
10- 10
4060
HPF
HF
3k
1k
6k
4k
700
6k
500Hz
15k
HM
180
70
250
45
400
35Hz
1k
LM
LF
0
-5
GAIN
-10
-20
ON
LR
TO
(ST1+ST2)TO
9-10
0
-5
GAIN
-10
-20
ON
HF
HM
LM
LF
EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
POST
PAN
PK!
SIG
10
5
0
5
10
OO
+6
OO
+6
OO
+6
OO
+6
POST POST PRE
OO
+6
OO
+6
RL
MUTE
PFL
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
POST
PAN
L R
PK!
SIG
10
5
0
5
10
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
PAN
L R
MUTE
PK!
PFL
SIG
10
5
0
5
10
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
PAN
MUTE
PK!
PFL
SIG
10
5
0
5
10
OO
OO
OO
OO
OO
OO
L R
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST PRE
AUX
5
+6
AUX
6
+6
POST
PAN
MUTE
PK!
PFL
SIG
10
5
0
5
10
OO
OO
OO
OO
OO
OO
L R
AUX
1
+6
AUX
2
+6
AUX
3
+6
AUX
4
+6
POST PRE
AUX
5
+6
AUX
6
+6
POST
PAN
L R
MUTE
PK!
PFL
SIG
10
5
0
5
10
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
PAN
L R
MUTE
PK!
PFL
SIG
10
5
0
5
10
AUX
1
OO
OO
OO
OO
OO
OO
OO
+6
+6
+6
+6
POST
PRE
+6
+6
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
PAN
L R
MUTE
PFL
MUTE
PK!
PFL
SIG
10
5
0
5
10
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
POST
BAL
L R
MUTE
PK!
PFL
SIG
10
5
0
5
10
LAMP
0
-5
5
GAIN
5
-10
10
16
10
-20
16
ON
TO
LR
11-12
TO
(ST3+ST4)
0
-5
5
GAIN
5
-10
10
16
10
-20
16
ON
HF
HM
LM
LF
AUX
1
OO
+6
+6
+6
+6
POST PRE
+6
+6
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
POST
BAL
RL
MUTE
PK!
PFL
SIG
10
5
0
5
10
Off--
Aux send
Delay1
[tap] [regen]
2 DelayLF
[tap] [LFregen]
DelayHF
3
[tap] [regen]
PingPong4
[tap] [regen]
BeatDelay5
[tap] [regen]
6 SlapDelay
[time]
7
Ambient
[size]
8
EchoVerb
[reverb]
9
EchoSpace
[size]
10
Doubler
[thickness]
11
Plate
[decay]
12
PlateDly
[predly]
13
PlateEQ
[colour]
14
Hall1
[size]
15
Hall2
[size]
16
ConcertHall
[size]
Arena17
[size]
SmallSpace18
[size]
Flanger19
[intensity]
Chorus20
[depth]
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX5
AUX6
OO
Hold
/ FX
OO
OO
OO
OO
OO
OO
OO
POST / FX
+6
Press
Parameter
TAP
+6
FX MUTE
PRE
+4
+4
+4
+4
+4
+4
L10R
0
10
ST6/USB
LEV
1-2
3-4
5-6
OO
0
TO LR
+16
+9 +6 +3
0
-3
-6
-9
-12
-16
-20
-30
L
R
POWER
PFL
0
10
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
AUX
/ FX
ST5
ST6
M
ALL UP = LR
ALT LR OUT MONITOR
AB
OO
+10
L+R AUX 6
M
10
5
0
555
10
AUX
4
ST5
LEV
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
10
5
0
5
10
20
30
OO
20
30
OO OO
20
30
20
30
OO
20
30
20
30
20
30
OO OO OO OO
20
30
20
30
OO
20
30
OO
Allen & Heath 29 WZ
20
20
20
30
30
30
O
OO O
OO
4
16:2 and 12:2 User Guide
AUX6
Cue Sheet WZ416:2
Copy and use this page to record your console settings
+48V
PAD
(LINE)
0
0
30
40
20
GAIN
GAIN
50
- 10 10
60 40
- 10 10
HPF
HF
HF
3k
4k
1k
1k
6k
700
700
15k
500Hz
HM
LM
LF
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
PK!
SIG
500Hz
HM
180
250
70
70
400
45
45
1k
35Hz
35Hz
LM
LF
AUX
1
OO
+6
AUX
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
POST POST POST PRE
AUX
5
OO
+6
AUX
6
OO
+6
PAN
PK!
PFL
SIG
10
5
0
5
10
20
30
OO
AUX
1
AUX
2
AUX
3
AUX
4
AUX5
AUX6
ST1
LEV
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
Off--
Aux send
Delay1
[tap] [regen]
2 Del ayLF
[tap] [LFregen]
DelayHF
3
[tap] [regen]
PingPong4
[tap] [regen]
BeatDelay5
[tap] [regen]
6 SlapDelay
[time]
7
Ambient
[size]
8
EchoVerb
[reverb]
9
EchoSpace
[size]
10
Doubler
[thickness]
11
Plate
[decay]
12
PlateDly
[predly]
13
PlateEQ
[colour]
14
Hall1
[size]
15
Hall2
[size]
16
ConcertHall
[size]
Arena17
[size]
SmallSpace18
[size]
Flanger19
[intensity]
Chorus20
[depth]
LAMP
OO
+6
OO
+6
OO
+6
ST2/USB
LEV
OO
+6
OO
0
TO LR
+16 +9
Press
+6 +3
0
-3
-6
-9
-12
Parameter
PRE
TAP
+6
FX MUTE
+4
+4
+4
+4
+4
+4
L10R
-16
-20
-30
L
R
POWER
PFL
0
10
1AUX
1-2
2AUX
3AUX
3-4
4AUX
5AUX
5-6
6AUX
/ FX
ST1
ST2
M
ALL UP = LR
ALT LR OUT MONITOR
AB
OO
+10
L+R AUX 6
M
Hold
/ FX
OO
OO
OO
OO
OO
OO
OO
POST / FX
10
5
5
0
0
5
5
10
10
20
20
30
30
O
OO O
AUX6
MixWizard WZALLEN&HEATH
+48V
+48V
PAD
PAD
(LINE)
(LINE)
30
40
20
GAIN
50
60 40
HPF
HF
3k
4k
6k
15k
HM
180
250
400
1k
LM
LF
0
0
30
40
20
GAIN
50
- 10 10
60 40
- 10 10
HPF
HF
3k
4k
1k
6k
700
700
15k
500Hz
500Hz
HM
180
250
70
400
45
45
1k
35Hz
35Hz
LM
LF
4
16:2
+48V
+48V
+48V
+48V
+48V
+48V
+48V
+48V
+48V
+48V
+48V
+48V
+48V
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
PAD
(LINE)
0
30
30
40
20
20
GAIN
50
- 10 10
60 40
HPF
HF
3k
4k
1k
1k
6k
700
15k
500Hz
HM
180
250
70
70
400
45
1k
35Hz
LM
LF
(LINE)
(LINE)
40
GAIN
50
60 40
HPF
HF
3k
4k
6k
15k
HM
180
250
400
1k
LM
LF
0
0
20
- 10 10
30
30
40
20
GAIN
50
- 10 10
60 40
HPF
HF
3k
4k
1k
1k
6k
700
700
15k
500Hz
500Hz
HM
180
180
250
70
70
400
45
45
1k
35Hz
35Hz
LM
LF
(LINE)
(LINE)
40
GAIN
50
60 40
HPF
HF
3k
4k
6k
15k
HM
250
400
1k
LM
LF
0
0
20
- 10 10
30
30
40
20
GAIN
50
- 10 10
60 40
HPF
HF
3k
4k
1k
1k
6k
700
700
15k
500Hz
500Hz
HM
180
180
250
70
70
400
45
45
1k
35Hz
35Hz
LM
LF
(LINE)
(LINE)
40
GAIN
50
60 40
HPF
HF
3k
4k
6k
15k
HM
250
400
1k
LM
LF
0
0
20
- 10 10
30
30
40
20
GAIN
50
- 10 10
60 40
HPF
HF
3k
4k
1k
1k
6k
700
700
15k
500Hz
500Hz
HM
180
250
70
70
400
45
45
1k
35Hz
35Hz
LM
LF
(LINE)
(LINE)
40
GAIN
50
60 40
HPF
HF
3k
4k
6k
15k
HM
180
250
400
1k
LM
LF
0
0
30
40
20
20
GAIN
50
- 10 10
60 40
- 10 10
HPF
HF
3k
4k
1k
1k
6k
700
700
15k
500Hz
500Hz
HM
180
250
70
70
400
45
45
1k
35Hz
35Hz
LM
LF
(LINE)
(LINE)
30
40
GAIN
50
60 40
HPF
HF
3k
4k
6k
15k
HM
180
250
400
1k
LM
LF
0
0
30
40
20
20
GAIN
50
- 10 10
60 40
- 10 10
HPF
HF
3k
4k
1k
1k
6k
700
700
15k
500Hz
500Hz
HM
180
250
70
70
400
45
45
1k
35Hz
35Hz
LM
LF
(LINE)
(LINE)
0
3030
40
40
20
GAIN
50
50
10- 10
4060
60 40
HPF
HPF
HF
3k
3k
4k
4k
1k
6k
6k
700
15k
15k
500Hz
HM
180
180
250
250
70
400
400
45
1k
1k
35Hz
LM
LF
EQ INEQ IN E Q IN E Q IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN
AUX
AUX
1
+6
OO
OO
+6
AUX
2
+6
OO
OO
+6
AUX
3
+6
OO
OO
+6
AUX
4
+6
OO
OO
+6
PRE
PRE
AUX
5
+6
OO
OO
+6
AUX
6
+6
OO
+6
PAN
RL R
L
LOOR
MUTE MUTEMUTE
PK!
PFL
PFL
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
OO
OO
AUX
1
1
OO
+6
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
PAN
L R
PK!
SIG
10
5
0
5
10
20
30
OO
+6
AUX
2
+6
OO
+6
AUX
3
+6
OO
+6
AUX
4
+6
OO
+6
POST POST POST POST POST POST PRE
PRE
AUX
5
+6
OO
AUX
6
+6
OO
+6
PAN
L
R
PK! PK!
PFLPFL
SIG
10
5
0
5
10
20
30
OO
AUX
AUX
1
O
O
+6
AUX
2
O
O
+6
AUX
3
O
O
+6
AUX
4
O
O
+6
PRE
AUX
5
O+6O
+6
AUX
6
O
O
+6
PAN
L
R
MUTEMUTEMUTE
PFL
SIG
10
5
0
5
10
20
30
OO
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
1
+6
OO
OO
+6
OO
+6
O
O
+6
OO
+6
OO
AUX
AUX
AUX
AUX
2
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
PRE
AUX
5
OO
+6
AUX
6
OO
PAN
L
R+6L R
PK! PK!
PFL
SIG
10
5
0
5
10
20
30
OO
2
OO
+6
AUX
3
OO
+6
AUX
4
OO
+6
PRE
AUX
5
OO
+6
AUX
6
OO
+6
PAN
MUTEMUTEMUTE
PFL
SIG
10
5
0
5
10
20
30
OO
+6
OO
AUX
3
+6
OO
AUX
4
+6
OO
PRE
AUX
5
+6
OO
AUX
6
+6
OO
PAN
L R
PK!
PFL
SIG
10
5
0
5
10
20
30
OO
AUX
2
2
O
O
+6
AUX AUX
AUX
AUX
5
AUX
6
PAN
PK!
SIG
OO
3
O3O
+6
OO
AUX
4
O4O
+6
OO
POST POST POST POST POST PRE
AUX
5
OO
+6
OO
AUX
6
OO
+6
OO
PAN
L
R L
PK! PK!
PFL
PFL PFL
SIG
10
10
5
5
0
0
5
5
10
10
20
20
30
30
OO
OO
AUX
2
+6
OO
AUX
3
+6
OO
AUX
4
+6
OO
PRE
AUX
5
+6
OO
AUX
6
OO
PAN
R+6L R
SIG
10
5
0
5
10
20
30
OO
+6
+6
+6
+6
PRE
+6
+6
MUTEMUTEMUTE
OO
+6
AUX
2
OO
+6
AUX AUX
3
OO
+6
AUX
4
OO
+6
PRE
AUX
5
OO
+6
AUX
6
OO
+6
PAN
L
R
PK! PK!
PFL
SIG
10
5
0
5
10
20
30
OO
1
O
O
+6
AUX
2
O
O
+6
3
O
O
+6
AUX
4
O
O
+6
PRE
AUX
5
O
O
+6
AUX
6
O
O
+6
PAN
L
R
MUTEMUTE
PFL
SIG
10
5
0
5
10
20
30
OO
AUX
1
1
+6
OO
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
PAN
L
PK!
PFL
SIG
10
5
0
5
10
20
30
+6
AUX
2
+6
OO
+6
AUX
3
+6
OO
+6
AUX
4
+6
OO
+6
POST
POST
PRE
PRE
AUX
5
+6
OO
+6
AUX
6
+6
+6
PAN
R
LOOR
MUTE
MUTE
PK!
PFL
SIG
10
5
0
5
10
20
30
OOOO
Allen & Heath 30 WZ
4
16:2 and 12:2 User Guide
Loading...