Allen & Heath MixWizard WZ4 14:4:2 mixer Allen & Heath MixWizard WZ4 14:4:2 Handleiding

MixWizard WZ4 14:4:2

USER GUIDE

Publication AP8666

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 14:4:2 User Guide AP8666 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

Allen & Heath 2 WZ

4

14:4:2 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.

Allen & Heath 3 WZ

4

14:4:2 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:

!

TERMINAL WIRE COLOUR

European USA/Canada

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

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 :



Allen & Heath 4 WZ

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

14:4:2 User Guide

Introduction

Welcome to the Allen & Heath WZ4 14:4:2, 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 matters au­dio ( 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 ............................................ 5

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

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

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

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

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

Group/Aux masters .............................. 18

Master Section ..................................... 19

Talkback, Generator and Matrix .......... 20

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

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

Connection Pin-outs and Cables ........ 10

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

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

Allen & Heath 5 WZ

Specifications ...................................... 21

System Block Diagram ........................ 23

User Options ........................................ 24

Cue Sheet ............................................ 27

4

14:4:2 User Guide

LAMP

0

-5

GAIN

+48V

PAD

(LINE)

0

30

40

20

GAIN

HF

HM

LM

- 10 10

700

45

1k

500Hz

70

35Hz

50

60 40

HPF

TO

GAIN

3k

4k

6k

15k

180

250

400

1k

LF

AUX AUX A UX

1

O
OO

+6

AUX

2

OO

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AUX AUX

3

OO
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AUX

4

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PRE PRE PRE

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5

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AUX

6

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ODDLEVEN+6ODD

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ON ON

TO

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(ST1+ST2)

11-12

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ON

HF

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16

MATRIX

TO

LR

(ST3+ST4)

0

-5

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16

GRP

1

5

GRP

2

10

GRP

3

GRP

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LEVEL

EQ INEQ INEQ IN

1

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3

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OO OO

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MUTE

AFLAFL

AUX

2

OO OO OO OO OO OO

+10

AFL

REV

GRP1 GRP2
TO LR

PAN

R

L

PK! PK!
+6

0

SIG

1

MUTE

AFL AFL

AUX

3

+10

AFL

REV

TO LR

+10

AFL

REV

GRP3 GRP4
TO LR

PAN

RL

+6

0

SIG

2

MUTE

RL

PK! PK!
+6

0

SIG

3

MUTE

AFL AFL AFL

MIC

IN

MONITOR

AUX

6

OO

L

PFL
AFL

OO

PHONES

+10

2TRK
TO LR

R

+16
+9
+6
+3

0

-3

-6

-9

-12

-16

-20

-30

POWER

+10

L-R
2TRK

+10

AFL

REV

GRP/AUX
REVERSE

FRONT-OF-HOUSE

STAGE MONITOR

TALKBACK

TRIM

MAXMIN

OSC/NOISE

TRIM

PINK NOISE

1kHz OSC

2TRK/USB

MAX

MIN

ON

TB SELECT

L-R

GRP 1-4

AUX 1-2

AUX 3-4

AUX 5-6

PRESS TO TALK

AUX

4

PAN

AUX

5

+10

AFL

REV

TO LR

+10

AFL

REV

LR SUM

MONO

AFL/PFL

LISTEN WEDGE

M

L

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0

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4

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10

5

0

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1-2

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SIG

10

5

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L-R

5

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30 30 30

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SIG

10

5

0

L-R

5

10

5

0

5

10

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5

0

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5

0

5

10

5

0

5

10

5

0

5

1-2

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20

10

20

30

10

20

30

10

20

30

10

20

30

10

20

30

10

20

30

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Allen & Heath 6 WZ

65

4

14:4:2 User Guide

Introducing the MixWizard WZ4 14:4:2

The Allen & Heath MixWizard series of consoles includes several models. This user guide de­scribes the WZ414:4:2 4 group model. The 2 bus WZ412:2 and WZ416:2 consoles are de­scribed in separate publications. For further information on the MixWizard series please refer
to the Allen & Heath web site.

ALLEN&HEATH

GAIN

HF

HM

LM

LF

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

PAN

PK!

SIG

L-R

1-2

3-4

ALLEN&HEATH

RETURN

L

R

LISTEN WEDGE

MATRIX OUT

A

B

MixWizard WZ414:4:2

+48V

+48V

PAD

PAD

(LINE)

(LINE)

0

0

0

30

30

40

40

20

20

20

GAIN

GAIN

50

50

- 10 10

6040

- 10 10

6040

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HPF

HPF

HF

HF

3k

3k

4k

1k

4k

1k

1k

6k

700

6k

700

700

15k

500Hz

15k

500Hz

500Hz

HM

HM

180

180

250

70

250

70

70

400

45

400

45

45

1k

35Hz

1k

35Hz

35Hz

LM

LM

LF

LF

AUX AUX

1

1

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AUX

2

2

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AUX

AUX

3

3

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4

4

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PRE PRE PRE

AUX

AUX

5

5

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AUX

AUX

6

6

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POST

POST

PRE

PRE

PAN

PAN

LR

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SIG

SIG

10

10

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5

5

5

0

0

0

L-R

L-R

5

5

5

1-2

1-2

3-4

3-4

20

20

20

30

30 30 3 0 30 30 30 30 30 30 30 30

OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO

2-TRACK

SEND

INSERT

L

L

A5

OUT

R

M

OUT

INSERT

R

A6

MONITOR OUT

OUT

L

R

AUX 6

AUX 5 AUX 4 AUX 3 AUX 2 AUX 1

R L

SENDS 15/16

2 TRK SOURCE

LR INSERTS
MATRIX

USB 2.0

MULTICHANNEL AUDIO

+48V

+48V

+48V

PAD

PAD

PAD

(LINE)

(LINE)

(LINE)

30

40

50

6040

HPF

3k

4k

6k

15k

180

250

400

1k

+6

+6

+6

+6

POST

+6

+6

POST
PRE

R
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PFL

INSERT

OUT

INSERT

OUT

G4

2 TRK RETURN
USB RETURN

0

0

0

30

30

40

40

20

20

20

GAIN

GAIN

GAIN

50

50

- 10 10

6040

- 10 10

6040

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HPF

HPF

HF

HF

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3k

3k

4k

1k

4k

1k

1k

6k

700

6k

700

700

15k

500Hz

15k

500Hz

500Hz

HM

HM

HM

180

180

250

70

250

70

70

400

45

400

45

45

1k

35Hz

1k

35Hz

35Hz

LM

LM

LM

LF

LF

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AUX

1

1

1

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2

2

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3

3

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4

4

4

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POST
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AUX

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5

5

5

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AUX

AUX

AUX

6

6

6

OO

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POST

POST

PRE

PRE

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PAN

PAN

L-R

1-2

3-4

3

A3

4

A4

R

L

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MUTE MUTE MUTE

PK!

PK!

PFL PFL

SIG

SIG

10

5

0

L-R

5

1-2

3-4

20

INSERT

1

A1

OUT

INSERT

2

A2

OUT

G2G3 G1

LR

L

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PK!

SIG

10

10

5

0

L-R

5

1-2

3-4

20

20

L/M

ST3

L/M

ST4

AUX
SENDS

+48V

+48V

+48V

PAD

PAD

PAD

(LINE)

(LINE)

(LINE)

30

40

50

6040

HPF

3k

4k

6k

15k

180

250

400

1k

+6

+6

+6

+6

POST

+6

POST
PRE

R
EVEN

PFL

5

0

5

13-14

R

R

GRP/AUX
REVERSE

0

0

0

30

30

40

40

20

20

20

GAIN

GAIN

GAIN

50

50

- 10 10

6040

- 10 10

6040

- 10 10

HPF

HPF

HF

HF

HF

3k

3k

4k

1k

4k

1k

1k

6k

700

6k

700

700

15k

500Hz

15k

500Hz

500Hz

HM

HM

HM

180

180

250

70

250

70

70

400

45

400

45

45

1k

35Hz

1k

35Hz

35Hz

LM

LM

LM

LF

LF

LF

AUX AUX

AUX

1

1

1

+6

+6

OO

OO

OO

AUX

AUX

AUX

2

2

2

+6

+6

OO

OO

OO

AUX

AUX

AUX

3

3

OO

OO

OO

+6

+6

AUX

AUX

AUX

4

434

+6

+6

OO

OO

OO

POST

POST

AUX

AUX

AUX

5

5

5

+6

+6

OO

OO

OO

OO

AUX

AUX

AUX

6

6

6

OO

OO

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+6 +6

+6

POST

POST

PRE

PRE

PAN

PAN

PAN

L

R
EVEN

ODD

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MUTE MUTE MUTE

PK!

PK!

PK!

PFL

PFL

SIG

SIG

SIG

10

10

5

5

0

0

L-R

L-R

L-R

5

5

1-2

1-2

1-2

3-4

3-4

3-4

20

20

MixWizard WZ414:4:2

INSERT

11-12

10

L/M

ST1

LINE IN

R

10

MIC

L/M

ST2

R

DIRECT

OUT

XLR OUT

21

+OUT

3

- OUT

0

-5
5

GAIN

+48V

+48V

-10
10

-20

PAD

PAD

16

(LINE)

(LINE)

0

30

30

ON ON

40

40

20

GAIN

50

50

TO

LR

6040

- 10 10

6040

HPF

HPF

(ST1+ST2)

TO

11-12

0

-5

HF

5

GAIN

-10
10

-20

OO OO

3k

180

PFL

10

5

0

5

20

INSERT

LINE IN

9

MIC

DIRECT

OUT

16

3k

4k

4k

1k

ON

6k

6k

700

15k

15k

500Hz

HF

HM

180

HM

250

250

70

400

400

45

1k

1k

35Hz

LM

LM

LF

LF

AUX AUX AUX

1

1

O

+6

+6

+6

OO

OO

AUX

AUX

2

2

+6

+6

+6

OO

OO

AUX AUX

3

3

OO
OO

OO

+6

+6

+6

AUX

AUX

4

4

+6

+6

+6

OO

OO

POST

POST

POST

PRE PRE PRE

AUX

AUX

5

5

+6

+6

+6

OO

OO

AUX

AUX

6

6

OO

OO

+6

POST

POST

POST

PRE

PRE

PRE

BAL

PAN

R

L

R

R

EVEN

ODDLEVEN+6ODD

EVEN

MUTE MUTE

PK!

PK!

PFL

PFL

SIG

SIG

10

10

5

5

0

0

L-R

L-R

5

5

1-2

1-2

3-4

3-4

20

20

9

INSERT

8

INSERT

LINE IN

LINE IN

8

7 6

MIC

MIC

DIRECT

DIRECT

OUT

OUT

910

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.

0

-5
5

GAIN

-10
10

-20

OOOO

16

MATRIX

GRP

TO

LR

1

13-14

TO

(ST3+ST4)

0

-5
5

GAIN

GRP

-10

2

10

-20

16

GRP

ON

3

HF

GRP

4

HM

L

LM

R

LEVEL

LF

EQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ IN

1

+6

OO

AUX

2

AUX

1

+6

OO

AUX

3

OO

+6

AUX

4

+6

OO

POST

AUX

5

PAN

+6

OO

AUX

6

OO

+6

POST
PRE

BAL

R

L

EVEN

ODD

MUTE AFL AFL

PK!

PFL

SIG

10

10

5

50505050505

0

0

L-R

5

5

1-2

10

3-4

20

20

30

INSERT

7

6

INSERT

LINE IN

LINE IN

5

MIC

MIC

DIRECT

DIRECT

OUT

OUT

CONFORMS TO ANSI/UL STD. 60065-2003
CERTIFICATED TO CAN/CSA STD.60065-03

MADE IN CHINA

LAMP

GRP

1

+6

GRP

2

OO OO

+6

GRP

3

+6

GRP

4

+6

+6

OO OO

+6

LEVEL

+6

OO OO

MUTE

AUX

2

+10

OO OO OO OO OO OO

AFL

REV

GRP1 GRP2
TO LR

PAN

R

L

PK! PK!
+6

0

SIG

1

MUTE

10

5

10

20

30

5

LINE IN

DIRECT

Serial No.ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

+6

OOOO

+6

+6

OOOO

+6

OOOO

L

+6

R

OOOO

+6

+6

MUTE

AFLAFL

AUX

3

+10

AFL

REV

TO LR

PAN

RL

+6
0
SIG

2

MUTE

10

5

10

20

30

INSERT

4

INSERT

LINE IN

4

MIC

DIRECT

OUT

FUSE

T630mA L 250V 20mm

WARNING: THIS APPARATUS MUST BE EARTHED

MIC

TALKBACK

TRIM

OSC/NOISE

TRIM

PINK NOISE

1kHz OSC

AUX

4

+10

AFL

AFL

REV

REV

GRP3 GRP4

TO LR

TO LR

PAN

L

RL

PK! PK!

+6

+6

0

0

SIG

SIG

4

3

MUTE

MUTE

AFL AFL AFL

10

5

10

20

30

INSERT

3

LINE IN

3

2

MIC

MIC

DIRECT

OUT

OUT

INSERT

SEND

RETURN

AC MAINS IN ~

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

CET APPAREIL DOIT ETRE MIS A LA TERRE

IN

ON

TB SELECT

L-R

GRP 1-4

AUX 1-2

AUX 3-4

AUX 5-6

PRESS TO TALK

+10

REV

LR SUM

AFL/PFL

LISTEN WEDGE

R

PK!
+6

SIG

L

10

5

10

20

30

2

2
TIP

RING

TIP +INTIP
RING -INRING

PHONES

MAXMIN

2TRK/USB

OO

+10

MAXLMIN

2TRK
TO LR

R

+16
+9
+6
+3

0

-3

-6

-9

-12

-16

-20

-30

PFL

POWER

AFL

MONITOR

+10

OO

L-R
2TRK

AUX5AUX

6

+10

+10

AFL

AFL

REV

GRP/AUX
REVERSE

FRONT-OF-HOUSE

MONO

STAGE MONITOR

M

+10

OO

PK!
+6
0

0

SIG

R

6

5

MUTE

MUTE

AFL

10

5

10

20

30

65

INSERT

1

LINE IN

1

MIC

DIRECT

OUT
12345678

INPUT

+IN

1

MIC

- IN

3

LINE

ONI0OFF

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

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

With its 4 band semi-parametric EQ, 4 groups, 6
auxes and stereo main output the WZ414:4:2 is
equally at home mixing live shows, recordings
and corporate events. Tamperproof recessed
switches configure the console for optimum FOH
or stage monitor operation. This ‘dual function­ality’, pioneered by Allen & Heath, gives the con­sole its unique ability to properly function as
Front-of-House or stage monitor, or handle both
at the same time, ideal as a hard working work
horse for hire stock, touring and installed sound.

The WZ414:4:2 has 10 mono mic/line inputs, 2
fully featured dual input stereo channels and a 2­track replay input, a total of 20 inputs to the mix.
Of special note is the addition of a 2 x 6 way
matrix providing a useful multi-purpose output
for those special demands such as recording and
broadcast feeds, delay fills, zone feeds and so on.
A host of top end features are provided including
oscillator and pink noise generator, individual
talkback to all outputs, comprehensive engineer’s
metering and monitoring and a lamp socket.

The base of the console can be removed to ac­cess internal user selectable options. These con­figure user preference for the aux sends, direct
outputs and talkback mic phantom power.

The aux and matrix outputs are impedance bal­anced but may be electronically balanced if re­quired by fitting an optional part. A kit is also
available to fit 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.

Allen & Heath 7 WZ

4

14:4:2 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.

Allen & Heath 8 WZ

4

14:4:2 User Guide

Connecting Power

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

RISK OF ELECTRIC SHOCK

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

ONI0OFF

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.

Allen & Heath 9 WZ

4

14:4:2 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 (-)

Tip=hot (+)

1=ground

Tip=send

Y-Adapter

1 Output to 2 Inputs

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

14:4:2 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

14:4:2 User Guide

ALLEN&HEATH

2-TRACK

RETURN

SEND

INSERT

L

R

LISTEN WEDGE

MATRIX OUT

A

B

L

R

M

OUT

MONITOR OUT

L

R

L

A5

OUT

INSERT

R

A6

OUT

AUX 6

AUX 5 AUX 4 AUX 3 AUX 2 AUX 1

2 TRK SOURCE

USB 2.0

MULTICHANNEL AUDIO

G4

2 TRK RETURN
USB RETURN

R L

SENDS 15/16

LR INSERTS
MATRIX

INSERT

OUT

INSERT

OUT

MixWizard WZ414:4:2

9

10

INSERT

LINE IN

DIRECT

INSERT

8

LINE IN

9

8

MIC

MIC

DIRECT

OUT

OUT

910

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.

7

INSERT

LINE IN

7 6

MIC

DIRECT

OUT

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

DIRECT

INSERT

LINE IN

MIC

OUT

6

INSERT

LINE IN

5

MIC

DIRECT

OUT

CONFORMS TO ANSI/UL STD. 60065-2003

CERTIFICATED TO CAN/CSA STD.60065-03

MADE IN CHINA

5

INSERT

4

LINE IN

4

MIC

DIRECT

OUT

FUSE

T630mA L 250V 20mm

Serial No.ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

WARNING: THIS APPARATUS MUST BE EARTHED

INSERT

INSERT

3

LINE IN

LINE IN

3

MIC

DIRECT

DIRECT

OUT

INSERT

SEND

RETURN

AC MAINS IN ~

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

CET APPAREIL DOIT ETRE MIS A LA TERRE

2

INSERT

1

LINE IN

2

1

MIC

MIC

DIRECT

OUT

OUT

12345678

INPUT

+IN

1

2

TIP

RING

MIC

- IN

3

TIP +INTIP

LINE

RING -INRING

ONI0OFF

ST3

ST4

AUX
SENDS

13-14

L/M

R

L/M

R

GRP/AUX

REVERSE

INSERT

11-12

L/M

ST1

LINE IN

R

10

MIC

L/M

ST2

R

DIRECT

OUT

XLR OUT

21

+OUT

3

- OUT

INSERT

3

1

A3

A1

OUT

INSERT

4

2

A4

A2

OUT

G2G3 G1

Allen & Heath 12 WZ

4

14:4:2 User Guide

The Console connectors

2

TIPTIP +IN

RINGRING -IN

SEND

RETURN

INPUT

1

3

INSERT

+IN

- IN

MIC

LINE

TIP

RING

MIC / LINE IN

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.

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

STEREO LINE IN

stereo channels. ST1 and ST2 feed channel 11-12, ST3 and ST4 feed channel 13-14.
All inputs use TRS jacks. ST1 and 3 are unbalanced, ST2 and 4 are balanced, Unbal­anced inputs automatically connect the TRS ring to ground for working with balanced
sources. The L input is normalled through the R input to accept mono signals.

INSERT

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

A single 3-pole TRS jack carries the unbalanced insert signal. Tip = send,

The channel PAD (LINE) switch selects either the MIC XLR or

WARNING:

The WZ314:4:2 has two stereo inputs for each of the two

Do not connect unbalanced sources or ca-

PROCESSOR

RETURN

INSERT

SEND

GROUND

RETURN

SEND

DIRECT OUTPUT

ance 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.

The mic/line channel direct output is available on an imped-

LINK RING TO SLEEVE TO UNBALANCE

OUT

IN

Allen & Heath 13 WZ

4

14:4:2 User Guide

GROUP (Aux), L, R, M OUT

balanced XLR. These produce +4dBu when the meters read ‘0’. The M out­put can be switched to provide a mono sum of the post-fade L and R signals,
or the PFL/AFL engineer’s wedge output.

The L and R outputs typically feed the house PA system in live sound mixing,
or a 2-track recorder in studio mixing. In FOH mode, 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. In monitor mode the M output feeds the engineer’s
wedge monitor speaker with the AFL signal interrupted by PFL.

Group 1 – 4 outputs can be used to provide additional zone or special feeds,
or for multitrack recording. In FOH mode they are often left unconnected
where the groups are used as ‘subgroups’ for grouped level control and/or
inserted processing. In monitor mode, the group and LR output XLRs and
inserts become the aux mix masters. This configures the console with 6 main
mix outputs capable of driving the stage monitors.

AUX OUT 1-6

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

Each aux send is available on an impedance balanced TRS

The main console mix outputs are on

The aux sends are typically used to feed monitors, effects devices such as re­verb and delay, and for special mix requirements. In monitor mode, these out­puts reverse with the groups and LR connections.

MATRIX OUT A, B

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

The matrix outputs are typically used for stereo or mono recording or broad­cast feeds, delay and fill speakers, zone feeds, hearing assist loops and so on.

2-TRACK IN and OUT

phono sockets for connection to popular recording and playback devices such
as CD, MiniDisc, computers and tape machines. Nominal line level is -2dBu.
The 2-track SEND always follows the post-fade LR mix regardless of mode
switch configuration. The 2-track RETURN can be used for monitoring a ste­reo recording, or as a simple stereo input for playback of walk-in and back­ground music.

Each matrix output is available on an impedance

These connections are unbalanced on RCA

MONITOR OUT

follow the post-level monitor signal. Separate sockets are provided for the L
and R signals. Use these to feed local speaker or other in-ear monitor sys­tems.

USB II OPTION

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

Allen & Heath 14 WZ

These impedance balanced line level TRS jack outputs

A blanking plate is fitted here as standard. The USB II

4

14:4:2 User Guide

The MONO Input Channel

+48V

PAD

(LINE)

0

30

40

20

GAIN

HM

LM

LF

AUX

AUX

AUX

AUX

AUX

AUX

PAN

L-R

1-2

3-4

- 10 10

HF

700

1

2

3

4

5

6

PK!

SIG

50

60 40

HPF

3k

4k

1k

6k

15k

500Hz

180

250

70

400

45

1k

35Hz

EQ IN

OO

+6

OO

+6

OO

+6

OO

+6

POST
PRE

OO

+6

OO

+6

POST
PRE

R

L

EVEN

ODD

MUTE

PFL

10

5

0

5

+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 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
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.

GAIN

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

Important note on setting channel levels: Use PFL to set the
GAIN controls for correct signal level through each channel. Use the
faders to balance each signal in the mix. We do not recommend setting
the faders to ‘0’ and mixing using the GAIN controls.

HPF

Switches in the channel high pass filter. This attenuates frequen­cies below 80Hz by 12dB per octave. The filter is pre-insert, pre-EQ.
Select the HPF to reduce low frequency noise such as microphone pop­ping, stage noise and tape transport rumble.

EQ

A 4-band semi parametric EQ provides independent control of
four frequency bands. Use EQ IN to compare the sound with the equal­iser switched in or out of circuit. HF and LF are shelving filters which
affect high frequencies above 12kHz, and low frequencies below 80Hz
respectively. HM and LM are bell shaped peak/dip filters which affect
frequencies around a centre point which can be swept from 500Hz to
15kHz and 35Hz to 1kHz respectively. These have a width (Q) of 1.8.
All bands can be boosted or cut by up to 15dB and have a centre detent
0dB position.

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

20

30

OO

Allen & Heath 15 WZ

4

14:4:2 User Guide

GAIN

HF

HM

LM

LF

L-R

1-2

3-4

- 10 10

700

AUX

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

PAN

PK!

SIG

+48V

PAD

(LINE)

0

30

40

20

50

60 40

HPF

AUX SENDS

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. 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

These rotary controls adjust how much channel

and post-fade sends, and a post-EQ option for the pre-fade sends.
More detail is provided in OPTIONS later in this guide.

500Hz

3k

4k

1k

6k

15k

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

180

250

70

400

45

1k

35Hz

faders and are typically used to send a proportion of the channel
signal to an effects device such as reverb or delay. Note that post­fade 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

EQ IN

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

OO

+6

OO

+6

this by repositioning the internal option jumpers.

PAN

Positions the channel signal between L/R in the stereo mix,
and odd/even if routed to the groups. The centre position (mono
image) is detented for quick resetting.

OO

+6

MUTE

OO

+6

POST
PRE

fects 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 pressed, the channel signal is turned off. This af-

when the channel is muted.

OO

+6

PFL

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

phones and local monitor without affecting the main outputs. The

OO

+6

POST
PRE

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 mix-

R

L

EVEN

ODD

MUTE

PFL

10

5

0

5

es 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.

ROUTING

Press L-R to route the channel signal to the main
LR mix. Press 1-2 or 3-4 to route to the groups. Use PAN to posi­tion the signal between L/R or the odd/even group pairs. To route
to a single group set PAN fully to one side. You can route to L-R
and all groups simultaneously by pressing all switches. Check that

20

you have set these switches correctly before you start mixing.

FADER

30

groups and post-fade aux sends. It also affects the direct output if

Controls the channel level feeding the main LR mix,

this has been set to post-fade using the internal option jumpers. The

OO

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

Allen & Heath 16 WZ

4

14:4:2 User Guide

The STEREO Input Channel

GAIN

GAIN

0

-5
5

-10
10

-20

OO

16

ON

TO

LR

(ST1+ST2)TO

11-12

0

-5
5

-10
10

-20

OO

16

ON

HF

Dual stereo inputs

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

fully off to +16dB gain. Press the ST1(3) switch to turn the input on.

Unbalanced TRS inputs. The GAIN control adjusts from

Routing mode switch

HM

operation. In the normal up position the ST1 (ST3) signal mixes with
ST2 (ST4) into the stereo channel. When pressed the signal is routed

Each of the two stereo channels has two

Recessed switch to prevent accidental

direct to the LR mix instead of the channel. This lets you use these

LM

inputs as simple stereo returns in addition to the full stereo channels,
providing four independent stereo sources to the LR mix.

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
PRE

BAL

R

L

EVEN

ODD

MUTE

PK!

PFL

SIG

10

5

0

L-R

5

1-2

3-4

20

ST2, ST4

Balanced TRS inputs. The GAIN control adjusts from
fully off to +16dB gain. Press the ST2 (4) switch to turn the input on.
These inputs always feed the stereo channels.

EQ

A 4-band fixed frequency EQ provides independent control of
four frequency bands. HF and LF are shelving filters which affect high
frequencies above 12kHz, and low frequencies below 80Hz respectively.
Use EQ IN to compare the sound with the equaliser switched in or out
of circuit. HM and LM are bell shaped peak/dip filters which affect fre­quencies centred around 2.5kHz and 250Hz respectively. These have a
width (Q) of 1.8. All bands can be boosted or cut by up to 15dB and
have a centre detented 0dB position.

AUX SENDS

These work as described for the mono channel.
The L and R sides of the stereo signal sum together to feed each aux in
mono. This can be changed using an internal jumper so that L feeds
auxes 1, 3 and R feeds auxes 2, 4. The auxes are always post-EQ.

BAL

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

MUTE

When pressed the channel signal is turned off. This affects
the feed to the LR mix, groups and pre and post-fade aux sends. The
red indicator lights when the channel is muted.

PFL

Press PFL to display the summed L+R pre-fade channel signal on
the main meters and listen to it in the headphones and local monitor
without affecting the main outputs. The red PK indicator half lights to
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.

30

SIGNAL

The green signal presence indicator lights when the chan-

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

OO

ROUTING

As the mono channel, routes the left signal to L and

odd groups, right signal to R and even groups.

Allen & Heath 17 WZ

4

14:4:2 User Guide

The GROUP/AUX Masters

AUX

PAN

AUX MASTERS

Each aux mix has a master level control that ad­justs the output level to match external equipment, or trims the monitor,
effect or other send without affecting the mix balance. Up to +10dB
boost is available above the normal 0dB position.

AUX AFL

1

OO

+10

AFL

REV

GRP1
TO LR

phones and local monitor without affecting the main outputs. Note that
this becomes the group mix in monitor mode. The console main meters
are interrupted with the aux (group) signal. The yellow indicator lights to
show that AFL has been selected on the master. Use AFL to check the
signal being sent to the monitors, effects or other destination.

REV

These switches reverse the function of the group and aux mas­ters. They are recessed to prevent accidental operation. Use a pen or
pointed object to set their position. In the up position (flush with the

Press AFL to listen to the post-level aux mix in the head-

panel), the group is controlled by the fader and the aux by the rotary
master. This is typical for FOH mode where the faders are used for sub-

R

L

PK!

+6

0

SIG

1

MUTE

groups feeding the main stereo mix. When pressed, the aux uses the
fader as the master and the group is moved to the rotary control. The
aux mix is now presented to rear Group XLR complete with insert. The
group mix appears at the Aux TRS jack. This is used for monitor mode
where the auxes are the main mix feeding the stage monitors. You can
select any combination for the FOH and monitor mode, for example, just
3, 4 giving you two fader subgroups, two monitor sends on faders, and
main LR mix.

AFL

Note: The groups always feed the matrix and the subgroup controls
(PAN and GRP TO LR) regardless of mode. This means the group mix
can still perform a useful function when the console is configured in moni­tor mode.

10

PAN

Positions the group signal between L an R in the stereo mix when

5

the GRP TO LR switch is pressed. Using pan you can create mono or
stereo groups positioned as you require in the main mix. For stereo

0

5

grouping, set the odd group pan fully to the left, and the even group pan
fully to the right. The centre position (mono image) is detented for quick
resetting. Note that the group mix always feeds these subgroup controls
regardless of FOH or monitor mode selected.

10

METER

A 4 LED bar meter displays the post-fade group signal (FOH

mode), or aux signal (monitor mode, REV pressed).

20

MUTE

the feed to the output XLR, LR and matrix. The red indicator lights when

When pressed the group (aux) signal is turned off. This affects

the channel is muted.

30

GROUP AFL

headphones and local monitor without affecting the main outputs. Note

Press AFL to listen to the post-fade group mix in the

that this becomes the aux mix in monitor mode. The console main me-

OO

ters are interrupted with the group (aux) signal. The yellow indicator
lights to show that AFL has been selected on that master.

GROUP FADER

Controls the group mix output level. Note that
it becomes the aux mix master in monitor mode (REV pressed). The
fader provides +10dB maximum boost above its normal unity gain 0dB
position.

Allen & Heath 18 WZ

4

14:4:2 User Guide

The Master Section

MIC

TALKBACK

TRIM

OSC/NOISE

TRIM

PINK NOISE

1kHz OSC

IN

MIN

ON

TB SELECT

L-R

GRP 1-4

AUX 1-2

AUX 3-4

AUX 5-6

PRESS TO TALK

AUX

5

OO OO

10

5

0

5

10

20

30

OO OO

AFL

REV

LR SUM

MONO

AFL/PFL

LISTEN WEDGE

PK!

+6

0

SIG

5

L

MUTE

AFL

MAXMIN

2TRK/USB

MAX

+10

AUX

M

10

5

0

5

10

20

30

MONITOR

6

OO

L

PFL
AFL

OO

OO

PHONES

+10

2TRK
TO LR

+16

+9
+6
+3

0

-3

-6

-9

-12

-16

-20

-30

+10

L-R
2TRK

+10

AFL

REV

FRONT-OF-HOUSE

STAGE MONITOR

+10

PK!
+6

0

SIG

R

6

MUTE

AFL

65

R

POWER

GRP/AUX
REVERSE

Console Monitor

Comprehensive engineer’s headphones and local

monitoring is provided.

Select either LR or 2-track return as the default source using the L-R / 2TRK
switch. Pressing PFL or AFL elsewhere on the console automatically overrides
the current monitor source with the signal from the channel or mix selection.
The red PFL/AFL active indicator illuminates and the console meters display the
active signal.

The console main meters provide 12 LED indicators to accurately display the
signal level of the selected monitor source. Reduce the signal level if the red
‘+16’ peak indicator lights. For optimum performance the signals meter an
average ‘0’ with loudest peaks reaching around ‘+6’.

Use the MONITOR level control to adjust the level in the headphones and
local speaker monitor. We recommend you use closed ear headphones in the
range 30 to 600 ohms designed for live sound monitoring. Headphones around
100 ohms impedance are a popular choice.

WARNING: To avoid damage to your hearing do not operate

any close-to-ear monitoring such as headphones for long periods at
high volume. Continued exposure to high volume sound can cause
frequency selective or wide range hearing loss.

AUX 5 and 6 Masters

for auxes 1 to 4. The REV switch reverses the AUX5 mix with L, and AUX6
mix with R for operation in monitor mode. When selected, the aux signals are
presented to the L and R XLR outputs complete with their inserts. The LR
mix swaps on to the Aux TRS jack outputs. Note that the LR mix always feeds
the matrix regardless of mode selected.

M Master

XLR. The source is selected using the mode switch above the control. This is
recessed to prevent accidental operation. Use a pen or pointed object to set
the position. In the up position (flush with the panel), the post-fade L and R
mix is summed to provide a mono source. Use this in FOH mode to feed a
mono PA, fill, delay or zone speakers, or even a mono broadcast or recording
send.

In monitor mode, press the switch to create an engineer’s monitor wedge feed
from the AFL/PFL mix. It is common to use a wedge speaker of the same type
used on stage to listen to and check the various monitor mixes being sent to
the performers. Together with the group/aux REV function, the WZ414:4:2
can be configured as a compact yet fully featured monitor console.

LR Masters

They provide +10dB maximum boost. Each master includes a 4 LED bar me­ter, an AFL switch and a MUTE switch so that L and R can be separately moni­tored and muted. This is most useful in monitor mode where these masters
carry the AUX5 and AUX6 signals.

A rotary control adjusts the level of the signal to the M output

Separate faders control the main mix L and R output levels.

These function in the same way as described

Allen & Heath 19 WZ

4

14:4:2 User Guide

TALKBACK, SIGNAL GENERATOR and MATRIX

MIC

IN

TALKBACK

TRIM

OSC/NOISE

TRIM

PINK NOISE

1kHz OSC

GRP 1-4

AUX 1-2

AUX 3-4

AUX 5-6

MIN

ON

TB SELECT

L-R

PRESS TO TALK

MATRIX

GRP

1

GRP

2

OO OO

GRP

3

GRP

4

L

OO OO

R

LEVEL

OO OO

MAXMIN

2TRK/USB

MAX

+6

+6

+6

+6

+6

+6

+6

MUTE

OO

L

PFL
AFL

MONITOR

OO

GRP

1

OOOO

GRP

2

GRP

3

OOOO

GRP

4

OOOO

L

R

OOOO

LEVEL

TALKBACK

Individually assignable talkback is available to all the
main outputs. Plug in a suitable cable or gooseneck microphone. A
good quality dynamic or condenser vocal microphone is recommended.
Note that +48V phantom power is available at the XLR as standard. If
you prefer, this can be disabled by repositioning an internal jumper link.

PHONES

WARNING: Do not connect unbalanced sources or ca­bles to inputs with phantom power selected. To avoid loud
clicks do not press the TALK switch when plugging or unplug­ging the talkback microphone.

First select the source you wish to talk to. You can select the auxes in

+10

2TRK
TO LR

R

+16

+9
+6
+3

0

-3

-6

-9

-12

-16

-20

-30

pairs, useful for communicating with the performers on stage. The four
groups are selected simultaneously, ideal for identifying a multitrack
recording. You can also talk to LR, ideal for announcements to the audi­ence. Once selected, press TALK to route the mic to the required des­tination. Adjust the talkback level using the TRIM control below the TB
mic XLR.

SIGNAL GENERATOR / PINK NOISE

Press to select

either pink noise (up position) or a 1kHz sine wave tone as the test

POWER

source. Start with the trim control turned fully down. The generator
ON switch is rece ssed to prevent accidental operation. Press this with
a pen or pointed object. The green indicator lights to warn that the
generator is enabled.

+10

L-R
2TRK

The generator signal is routed to any source selected on the switch
bank above the TALK switch. Use the signal to test the loudspeaker
system and line up connected equipment. Pink noise is useful for quickly
testing the full range frequency operation and phasing/polarity of loud­speakers. The 1kHz tone is better suited to lining up equipment with its
steady reading on the meters.

WARNING: We recommend you turn off the signal

+6

generator once you have finished using it to test and line up
your system. This will prevent accidental operation during the

+6

+6

+6

show.

MATRIX

The matrix provides 2 additional console outputs. It is a
‘mixer within a mixer’ taking its source from the groups and main mix.
It can be used to provide duplicate main outputs or to create new mixes

+6

from the main outputs. The controls are positioned conveniently away
from the live performance controls to avoid accidental operation.

+6

+6

MUTE

AFLAFL

Each of the 4 groups, L and R can be mixed independently into the ma­trix. The source is derived post-fader. Adjust the level clockwise from
fully off to +6dB boost. Use the LEVEL control to adjust the matrix
output level from fully off to a maximum boost of +6dB. The ‘0dB’ posi­tions are marked. The matrix output can be muted. The post-level
signal can be monitored using the AFL switch.

Use the matrix to create special mixes such as delay, fill and zone speak­ers, recording and broadcast feeds, hearing assist loop and so on.

Allen & Heath 20 WZ

4

14:4:2 User Guide

Specifications

Performance

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

Internal headroom Channels +21dB
Mix +23dB

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

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

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

Crosstalk at 1kHz Fader shutoff >90dB
Mute shutoff >90dB
Inter channel >90dB

Noise, rms 22Hz to 22kHz Mic EIN -127dB
Residual output noise < -96dBu (-100dB S/N)
LR unity fader mix noise < -84dBu (-88dB S/N)
Group unity fader noise < -90dBu (-94dB S/N)

Channel HPF 12dB/octave below 80Hz

Mono EQ HF Shelving, +/-15dB, 12kHz
HM Peak/dip, +/-15dB, 500Hz to 15kHz, Q=1.8
LM Peak/dip, +/-15dB, 35Hz to 1kHz, Q=1.8
LF Shelving, +/-15dB, 80Hz

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

Power supply 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

W4-1442 packed

W4-1442 unpacked

13kg (28lbs)
16kg (35lbs)

Allen & Heath 21 WZ

4

14:4:2 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

Talkback mic XLR balanced pin 2 hot Sensitivity -50 to -10dBu
Phantom power Internal jumper +48V

2-track return RCA phono, unbalanced >4k ohm, -8 to +4dBu

2-track send RCA phono, unbalanced < 1k ohm, -2dBu

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

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

Group (aux) out XLR balanced pin 2 hot <75 ohm, +4dBu, +26dBu max .

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

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

Matrix out TRS impedance balanced <75 ohm, -2dBu, +21dBu max
Electronic balance option <75 ohm, +4dBu, +26dBu max

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

Monitor output TRS impedance balanced <75 ohm, -2dBu, +21dBu max

Lamp 4-pin XLR max 12V 5W lamp

MixWizard 4 Series Part Numbers

WZ412:2 8 mic/line, 2 dual stereo, LR console
WZ416:2 16 mic/line LR console
WZ414:4:2 10 mic/line, 2 dual stereo, 4 group console

WZ412:2,WZ416:2 & WZ414:4:2 USB2 option kit

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

Allen & Heath 18” gooseneck LED lamp LEDLAMP

W4-122
W4-162
W4-1442

004-232JIT

Allen & Heath 22 WZ

4

14:4:2 User Guide

Block Diagram

DUAL STEREO INPUTS

TALKBACK

BALANCED

MIC IN

48V PHANTOM POWER

OFF

2= +

ON

GAIN

-

+

PINK NOISE

1KHz OSC

SW = SWITCHED

PO = POST-FADE

PR = PRE-FADE

JUMPER OPTIONS KLIJGHEFCDAB

LEVEL

ON

DIM

PRESS TO TALK

L-R

GRP1-4

AUX3-4

AUX5-6

AUX1-2

AUX

PR

1

SW

PR

2

SW

3

SWPR

PR

4

SW

PO

5

SW

PO

6

SW

INPUT ST2(4)

L/M

R

+

-

-

GAIN

ON

LF

PRE-FADE

CN4

SM

+ +

MONO/STEREO AUX

PRE PRE

POST-FADE

CN5

SM

3-4

INPUT ST1(3)

L/M

R

+

GAIN

IMPEDANCE BALANCED

ON

CH

LR

MIC/LINE INPUTS

DIRECT OUT

0dBu

RING= -

TIP= +

BALANCED

INSERT

0dBu

RING= RETURN

TIP= SEND

MIC

LINE

2= +

TIP= +

LINE (PAD)

-20dB

GAIN

+

-

HPF

WZ4 14:4:2

48V

PHANTOM POWER

+

4 BAND EQUALISER

HM

LM

HF

DIR JUMPER

POST-FADE

PRE-FADE

EQ IN

SUM

SIG

PK

+

MUTE

PFL

FADER

PAN

L-R

1-2

PO = POST-FADE

PR = PRE-FADE

SW = SWITCHED

PCB

SOLDER

OPTIONS

JS2

PR

1AUX 2

SW

JS1

JS4

PR

3

SW

JS3

4

PO

5

SW

JS8 JS7

PO

6

SW

PRE-INSERT

PRE PRE

JS6

JS5

LM

LF

EQ IN

AUX JUMPER

POST-EQ

FADER

3-4

1-2

L-R

4 BAND EQUALISER

HM

HF

SIG

PK

PFL

MUTE

PAN

AUX 1-6
GRP 1-4
LR

PFL/AFL DC

PFL/AFL MIX

TO WEDGE MODE

FROM L,R

GRP3

GRP4

L

R

MATRIX A(B)

SEND RETURN

2-TRACK

-2dBu

MATRIX MIX

+10dB boost

LEVEL

FROM PFL/AFL

AFL

MUTE

+4dBu BAL OPTION -2dBu

2TRK TO LR

IMPEDANCE BALANCED

LR/2-TRK

MATRIX OUT

TIP= +

+10dB boost

PFL/AFL

MONITOR

L

R

FROM GRP,L,R

GRP1

GRP2

FROM L,R

WEDGE MODE

SUM

+

MONO

L(R) MIX

AUX MIX

LR/AUX REV

INSERT

-2dBu
+10dB boost

FADER

+10dB boost

L(R) / AUX 5(6)

AUX

AFL

AFL

MUTE

METER

LEVEL

TO MATRIX, MONO, MONITOR, 2TRK

BAL

2 = +

BAL

2 = +

M OUT

+4dBu

+4dBu

+4dBu BAL OPTION

PAN

L(R) OUT

IMPEDANCE BALANCED

-2dBu

AUX OUT

TIP= +

TO MATRIX

L-R

GRP MIX

AUX MIX

GRP/AUX REV

INSERT

-2dBu
+10dB boost

FADER

+10dB boost

GROUPS / AUX 1-4

AUX

AFL

MUTE

METER

+4dBu BAL OPTION

BAL

2 = +

GROUP OUT

+4dBu

IMPEDANCE BALANCED

-2dBu

AUX OUT

TIP= +

PFL

AFL

MONITOR

IMPEDANCE BALANCED

RING = RIGHT

TIP = LEFT

PHONES

OUT

MONITOR OUT

R

L

Allen & Heath 23 WZ

4

14:4:2 User Guide

User Options

REMOVE 4x M4 POZI SCREWS PER SIDE

REMOVE SIDE TRIMS

REMOVE M4 POZI SCREW PER SIDE

ROTATE POD

REMOVE 3x M3 TORX SCREWS

ROTATE POD

REMOVE 4x M3 TORX SCREWS

The MixWizard has a versatile architecture which should satisfy most applica­tions you may encounter without modification. However, the following inter­nal options provide alternative settings for those applications that may de­mand them. Access is required to the internal assemblies. pluggable jumper
links are used in most places and also some links require cutting and soldering
a solder bridge.

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.

LIFT OFF BASE

AUX PRE/POST FADER

(SOLDER OPTION,

PCB UNDERSIDE)

AUX PRE/POST INSERT/EQ

DIRECT OUT PRE/POST FADER

MONO INPUT

STEREO INPUT

AUX STEREO/MONO

AUX PRE/POST FADER

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.

IMPORTANT:

Check carefully that all channel options are correctly
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.

MATRIX AB
BALANCE

AUX 1-4
BALANCE

MASTER L

GROUP

AUX5
BALANCE

TB MIC
+48V

MASTER R

AUX6
BALANCE

Allen & Heath 24 WZ

4

14:4:2 User Guide

MONO CH - AUX PRE/POST EQ

PR

AUX

PO

DIR

PR PO

MONO CH - DIRECT OUT

PR

PR PO

PO

AUX DIR

MONO CH - AUX PRE/POST FADER

JS2

JS1

JS4

JS3

JS6

PR=PRE
PO=POST
SW=SWITCH

SW

PR
AUX 1-2

SOLDER BLOB
HERE

SW

PR
AUX 3-4

PR

AUX 1-2

SW

PO

AUX 5

SW

JS5

CUT TRACK

PO

AUX 6

Aux pre/post insert / EQ

Factory default for the
mono channel 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 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 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

JS8

JS7

these settings for different combinations of pre/post or
switched auxes by cutting and re-soldering the links. Refer to

SW

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.

Solder Options:

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.

Cut tracks with a sharp knife and ensure that any

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

L MASTER - TALKBACK +48V

JP1 JP2

PHANTOM POWER

GND 48V

Stereo Channel Aux pre/post settings

default is Aux 1&2 = switched, Aux 3&4 = switched, Aux 5&6 =

ABCDEFGHIJKL

SWPRSWPRSWPRSWPRSWPOSWPO

AUX23456

1

switched. Configure as mono channel but connections are using jump­ers instead of solder links.

Factory

Stereo/Mono aux source

feed the auxes with a mono sum of L+R, or be configured so
that L feeds the odd numbered auxes, and R the even. This is
preferred when using odd/even auxes as stereo pairs. Factory
default is the mono setting.

Talkback mic +48V

tom power turned on for the front panel talkback mic XLR
input. The option jumper is behind the TB mic XLR on the L
Master board. If you prefer, phantom power can be disabled
by repositioning the jumper to the GND position.

Note that phantom power should not harm non-powered dy­namic microphones as long as balanced connections are used.

WARNING: Do not connect unbalanced
sources or cables to inputs with phantom power select­ed. To avoid loud clicks do not press the TALK switch
when plugging or unplugging the talkback microphone.

The stereo channels can

The factory default is +48V phan-

Allen & Heath 25 WZ

4

14:4:2 User Guide

MATRIX AB
BALANCE

AUX 1-4
BALANCE

GROUP

MASTER L

AUX5
BALANCE

MASTER R

AUX6
BALANCE

Output balance options

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 next to each IC. 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.

The aux and matrix outputs

SENDS 15/16

2 TRK SOURCE

LR INSERTS

MATRIX

USB 2.0

MULTICHANNEL AUDIO

2 TRK RETURN
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

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.

The card sends the following channels to the computer:
Mono channels 1-10 direct out, Insert sends group 1-4,
Left/right insert sends OR Matrix outputs.

The 2 TRK source can toggled between the computer
return feed or the input sockets mounted at the rear of
the mixer.

A blanking plate is fitted over the

For full details please refer to the WZ4 USB option appli­cation note AP8987 and fitting instructions AP8988.

Allen & Heath 26 WZ

4

14:4:2 User Guide

Cue Sheet WZ414:4:2

Copy and use this page to record your console settings

ALLEN&HEATH

+48V

+48V

PAD

PAD

(LINE)

(LINE)

0

0

20

GAIN

- 10 10

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

OO

PAN

L

ODD

PK!

SIG

10

5

0

L-R

5

1-2

3-4

30

30

HPF

40

40

20

GAIN

50

60 40

- 10 10

60 40

HPF

HF

3k

3k

4k

1k

6k

700

15k

15k

500Hz

HM

180

180

250

70

400

45

1k

1k

35Hz

LM

LF

AUX AUX

1

+6

+6

OO

AUX

2

OO

+6

+6

AUX

3

OO

+6

+6

AUX

4

OO

+6

+6

POST

POST

PRE PRE PRE

AUX

5

OO

+6

+6

AUX

6

OO

+6 +6

POST

POST

PRE

PRE

PAN

L

R

ODD

EVEN

EVEN

MUTE MUTE MUTE

PK!

PFL

PFL

SIG

10

5

0

L-R

5

1-2

3-4

MixWizard WZ414:4:2

+48V

+48V

PAD

PAD

(LINE)

(LINE)

0

0

20

GAIN

50

- 10 10

HF

4k

1k

6k

700

500Hz

HM

250

70

400

45

35Hz

LM

LF

1

OO

AUX

2

OO

AUX

3

OO

AUX

4

OO

AUX

5

OO

AUX

6

OO

PAN

LR

ODD

PK!

SIG

10

5

0

L-R

5

1-2

3-4

30

30

HPF

40

40

20

GAIN

GAIN

50

50

60 40

- 10 10

60 40

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

AUX

1

+6

+6

OO

AUX

2

OO

+6

+6

AUX

3

OO

+6

+6

AUX

4

OO

+6

+6

POST

POST

PRE PRE PRE PRE PRE PRE

AUX

5

OO

+6

+6

AUX

6

OO

+6

+6

POST

POST

PRE

PRE

PAN

R

L

R

EVENODD

EVEN

MUTE MUTE MUTE

PK!

PFL PFL

PFL

SIG

10

5

0

L-R

5

1-2

3-4

+48V

PAD

(LINE)

0

30

40

20

50

60 40

- 10 10

HPF

HF

3k

4k

1k

6k

700

15k

500Hz

HM

180

250

70

400

45

1k

35Hz

LM

LF

AUX AUX

1

+6

OO

AUX

2

OO

+6

AUX

3

OO
OO

+6

AUX

4

OO
OO

+6

POST

AUX

5

OO

+6

AUX

6

OO

+6 +6

POST
PRE

PAN

L

EVEN ODD

ODD

PK!

SIG

10

5

0

L-R

5

1-2

3-4

+48V

PAD

PAD

PAD

PAD

(LINE)

(LINE)

0

30

40

20

GAIN

GAIN

50

- 10 10

60 40

- 10 10

HPF

HF

HF

3k

4k

1k

6k

700

700

15k

500Hz

HM

HM

180

250

70

400

45

45

1k

35Hz

LM

LM

LF

LF

0

0

20

30

30

40

20

GAIN

50

- 10 10

60 40

HPF

HF

3k

3k

4k

1k

1k

6k

700

15k

500Hz

500Hz

HM

180

180

250

70

70

400

45

1k

35Hz

35Hz

LM

LF

(LINE)

(LINE)

0

30

40

40

20

GAIN

GAIN

50

50

60 40

HPF

HF

4k

6k

15k

HM

250

400

1k

LM

LF

- 10 10

- 10 10

60 40

HPF

HF

3k

4k

1k

6k

700

700

15k

500Hz

HM

180

250

70

400

45

45

1k

35Hz

LM

LF

0

20

1k

500Hz

70

35Hz

PAD

(LINE)

30

40

50

60 40

HPF

3k

4k

6k

15k

180

250

400

1k

-10

-20

16

ON ON

TO

LR

(ST1+ST2)

TO

11-12

0

-5

GAIN

-10

-20

OO OO

16

ON

HF

HM

LM

LF

0

-5

GAIN

+48V

+48V

+48V

+48V

0

-5

GAIN

5

-10

10

-20

OOOO

16

TO

LR

13-14

TO

(ST3+ST4)

0

-5

GAIN

5

-10

10

-20

16

ON

HF

HM

LM

LF

EQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ INEQ IN

AUX AUX

AUX

1

1

1

+6

+6

+6

OO

OO

OO

AUX

2

OO

+6

AUX

3

OO
OO

+6

AUX

4

OO
OO

+6

POST

AUX

5

OO

+6

AUX

6

OO

POST
PRE

PAN

R

LR

EVEN

PK!

PFL

SIG

10

5

0

L-R

5

1-2

3-4

AUX

AUX

2

2

OO

OO

+6

AUX

AUX

3

3

OO

OO

OO

OO

+6

AUX

AUX

4

4

OO

OO

OO

OO

+6

POST

AUX

AUX

5

5

OO

OO

+6

OO

AUX

AUX

6

6

OO

OO

+6

POST
PRE

PAN

PAN

LR

ODD

ODDLEVEN

MUTE MUTE MUTE

PK!

PK!

PFL

SIG

SIG

L-R

1-2

3-4

10

10

5

5

0

0

L-R

5

5

1-2

3-4

+6

+6

+6

POST

+6

+6 +6

POST
PRE

R

EVEN

PFL

AUX AUX AUX

1

1

AUX

2

AUX

3

AUX

4

AUX

5

AUX

6

PAN

ODD

PK!

SIG

L-R

1-2

3-4

OO

OO

OO
OO

OO
OO

OO

OO

L

PFL

10

5

0

5

+6

AUX

2

+6

AUX AUX

3

+6

AUX

4

+6

POST

AUX

5

+6

AUX

6

POST
PRE

PAN

R

ODDLEVEN+6ODD

EVEN

PK!

SIG

L-R

1-2

3-4

O
OO

OO

OO
OO

OO
OO

OO

OO

10

5

0

5

1

+6

OO

AUX

2

OO

+6

3

OO

+6

AUX

4

OO

+6

POST
PRE PRE PRE

AUX

5

OO

+6

AUX

6

OO

POST
PRE

BAL

L

R

MUTE MUTE

PK!

PFL

SIG

1

+6

AUX

2

+6

AUX

3

+6

AUX

4

+6

POST

AUX

5

+6

AUX

6

+6

POST
PRE

BAL

R

EVEN

PK!

PFL

SIG

10

5

0

L-R

1-2

3-4

L-R

5

1-2

3-4

+6

OO

OO

+6

OO

+6

OO

+6

POST

OO

+6

OO

+6

POST
PRE

R

L

EVEN

ODD

MUTE AFL AFL

PFL

10

5

0

5

LAMP

5

10

MATRIX

GRP

GRP

1

1

OOOO

+6

GRP

2

OO OO

GRP

3

GRP

4

L

OO OO

R

LEVEL

OO OO

+6

GRP

2

+6

+6

GRP

3

OOOO

+6

+6

GRP

4

OOOO

+6

+6

L

+6

+6

R

OOOO

+6

+6

LEVEL

+6

+6

MUTE

MUTE

5

10

AFLAFL

AUX

AUX

1

+10

OO OO OO OO OO OO

AFL

REV

GRP1 GRP2
TO LR

PAN

R

L

PK! PK!
+6

0

SIG

1

MUTE

AUX

2

3

+10

+10

AFL

AFL

REV

REV

GRP3 GRP4
TO LR

TO LR

PAN

PAN

RL

RL

PK! PK !

+6

+6

0

0

SIG

SIG

3

2

MUTE

MUTE

AFL AFL AFL

10

10

10

5

5

5

0

0

0

5

5

5

10

10

10

MIC

IN

AFL/PFL

PK!
+6

SIG

PHONES

MAXMIN

2TRK/USB

OO

+10

MAXLMIN

2TRK
TO LR

R

+16
+9
+6
+3

0

-3

-6

-9

-12

-16

-20

-30

PFL

POWER

AFL

MONITOR

OO

+10

L-R
2TRK

AUX

6

+10

+10

AFL

AFL

REV

GRP/AUX
REVERSE

FRONT-OF-HOUSE

MONO

STAGE MONITOR

M

OO

+10

PK!

+6

0

0

SIG

R

6

5

MUTE

MUTE

TALKBACK

TRIM

OSC/NOISE

TRIM

PINK NOISE

1kHz OSC

ON

TB SELECT

L-R

GRP 1-4

AUX 1-2

AUX 3-4

AUX 5-6

PRESS TO TALK

AUX

AUX

5

4

+10

AFL

REV

REV

LR SUM

TO LR

PAN

LISTEN WEDGE

L

R

+6

0

SIG

L

4

MUTE

AFL

10

10

10

5

5

5

0

0

0

5

5

5

10

10

10

20

20

20

20

20

20

20

20

20

20

30

30 30 30 30 30 30 30 3 0 30 30 30

20

20

20

20

30

30

20

20

30

30

OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO

Allen & Heath 27 WZ

4

14:4:2 User Guide

20

20

30

30

65