ALLEN&HEATH
MixWizard Series
WZ14:4:2+
14 Input 4 Group Audio Mixing Console
USER GUIDE
Publication No: AP3435
LIMITED ONE YEAR WARRANTY
This product has been manufactured in the UK by ALLEN & HEATH and
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 or its authorised agent as soon as possible for repair under
warranty subject to the following conditions
CONDITIONS OF WARRANTY
1. The equipment has been installed and operated in accordance with
the instructions in this User Guide
2. The equipment has not been subject to misuse either intended or
accidental, neglect, or alteration other than as described in the User
Guide or Service Manual, or approved by ALLEN & HEATH.
3. Any necessary adjustment, alteration or repair has been carried out
by ALLEN & HEATH or its authorised agent.
4. The defective unit is to be returned carriage prepaid to ALLEN &
HEATH or its authorised agent with proof of purchase.
5. Units returned should be packed to avoid transit damage
These terms of warranty apply to UK sales. In other territories the terms
may vary according to legal requirements. Check with your ALLEN &
HEATH agent for any additional warranty which may apply.
WZ14:4:2+ User Guide AP3435 Issue 2. Copyright © 2001 Allen & Heath. All rights reserved
This product complies with the European Electromagnetic Compatibility directives
89/336/EEC & 92/31/EEC and the European Low Voltage Directives 73/23/EEC &
93/68/EEC.
Manufactured in England by:
Allen & Heath Limited
Kernick Industrial Estate,
Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
ALLEN&HEATH
IMPORTANT SAFETY INSTRUCTIONS
PLEASE READ THESE INSTRUCTIONS
This symbol, wherever it appears, alerts
you to the presence of uninsulated
dangerous voltage inside the enclosure
that may be sufficient to constitute a risk
of electric shock.
This symbol, wherever it appears,
alerts you to important operating and
maintenance instructions in the
accompanying literature. Please read
the operating instructions.
CAUTION
ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR
WARNING:
• RETAIN INSTRUCTIONS: The safety and operating instructions should be read and retained for future reference.
To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture.
• HEED WARNINGS: All warnings on the appliance and in the operating instructions should be adhered to.
• FOLLOW INSTRUCTIONS: All operation and user instructions should be followed.
• WATER & MOISTURE: The appliance should not be used near water (e.g. in a bathroom, a kitchen, wet
basement or near a swimming pool etc…)
• VENTILATION: The appliance should be situated so that its location or position does not interfere with its
proper ventilation. For example, the appliance should not be placed on a bed, sofa, rug,
or similar surface that may block the ventilation openings: or, placed in a built-in
installation, such as a bookcase or cabinet that may impede the flow of air through
ventilation openings.
• HEAT: The appliance should be situated away from heat sources such as radiators, heat
registers, stoves, or other appliances (e.g. amplifiers) that produce heat.
• POWER SOURCES: The appliance should be connected to a power supply only of the type described in the
operating instructions or as marked on the appliance.
• GROUNDING OR POLARISATION: Precautions should be taken so that the grounding or polarisation means of the
appliance plug is not defeated. A polarised plug has two blades with one wider than the
other. A grounding type plug has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. When the provided plug does not fit
into your outlet, consult an electrician for replacement of the obsolete outlet.
• POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to be walked on or
pinched by items placed upon or against them, paying particular attention to cords at
plugs and the point where they exit from the appliance.
• ATTACHMENTS / ACCESSORIES: Only use attachments and /or accessories specified and approved by the
manufacturer.
• CLEANING: The appliance should only be cleaned as recommended by the manufacturer.
• NON-USE PERIODS: The power cord of the appliance should be unplugged from the outlet when left unused
for a long period of time. Unplug the apparatus during lightning storms.
• OBJECT & LIQUID ENTRY: Care should be taken so that objects do not fall and liquids are not spilled into the
enclosure through openings.
WZ14:4:2+
USER GUIDE 3
• DAMAGE REQUIRING SERVICE: The appliance should be serviced by qualified service personnel when:
the power supply cord or the plug has been damaged: or
objects have fallen, or liquid has been spilled into the appliance: or
the appliance has been exposed to rain; or
the appliance does not appear to operate normally or exhibits a marked change in
performance; or
the appliance has been dropped, or the enclosure damaged.
• SERVICING: The user should not attempt to service the appliance beyond that described in the
operating instructions. All other servicing should be referred to qualified service
personnel.
• INSTALLATION: The appliance should only be installed and used in accordance with the manufacturers
operating instructions. Use only with a cart, stand, tripod, bracket or table specified by
the manufacturer, or sold with the apparatus. When a cart is used, use caution when
moving the cart/apparatus combination to avoid injury from tip-over.
Important Mains plug wiring instructions.
The appliance is supplied with a moulded mains plug fitted to the ac mains power lead. If the mains plug has to be
replaced, follow the instructions below.
The wires in the mains lead are coloured in accordance with the following code:
TERMINAL
European USA/Canada
LIVE BROWN BLACK
L
NEUTRAL BLUE WHITE
N
EARTH GND GREEN & YELLOW GREEN
E
As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in
your plug, proceed as follows:
• 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.
• 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 codings are followed carefully in the event of the plug being changed.
WIRE COLOUR
WARNING: THIS APPLIANCE MUST BE EARTHED
This product complies with the European Electromagnetic Compatibility directives 89/336/EEC &
92/31/EEC and the European Low Voltage directive 73/23/EEC & 93/68/EEC.
Allen & Heath warns that any changes or modifications to the appliance not approved or authorised by Allen &
Heath could void the compliance of the appliance and therefore the users authority to operate it.
Selecting the appropriate environment
Refer to the important safety instructions overleaf and in addition the following guidelines should be adhered to:
• The appliance must be situated near a suitably grounded (earthed) electrical outlet. Where possible, use a power
filter/surge protector connected to the mains lead of the appliance or any other connected appliance.
• Avoid electromagnetic, RF and magnetic fields such as those generated by TV/telecoms and radio antennae,
amplifiers, speakers, TV/video monitors, air conditioning units, microwave ovens and large electric motors.
• Avoid conditions of extreme humidity.
• Avoid sources of shock and vibration.
4 WZ14:4:2+
USER GUIDE
INTRODUCTION
The WZ14:4:2+ continues ALLEN & HEATH’s commitment to providing high quality audio mixing
consoles engineered to meet the exacting requirements of today’s audio business. It brings you
the latest in high performance technology and offers the reassurance of over two decades of
console manufacture and customer support.
This user guide presents a quick reference to the function and application of the WZ14:4:2+. We
recommend that you read this guide fully before starting. For your convenience, the manual
contains information about applications, installing and connecting the console and its input and
output sections. Front and rear panel drawings are included with a technical specification. A
system block diagram is printed on the rear cover. For further information on the basic principles of
audio system engineering, please refer to one of the specialist publications available from
bookshops and audio equipment dealers.
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.
SERVICE AND TECHNICAL SUPPORT
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
product range, assistance with your technical queries or simply to chat about matters audio... To
help us provide the most efficient service please keep a record of the console serial number, and
date and place of purchase to be quoted in any communication regarding this product.
SAFETY WARNING!
Mains electricity is dangerous and can kill. Mains voltage is present within the console.
Do not remove the covers with mains electricity connected. To ensure your safety, mains earth
is connected to the chassis through the power lead. Do not remove this mains earth connection.
To avoid the risk of fire, replace the mains fuse only with the correct value and type as
indicated on the connector panel.
GENERAL PRECAUTIONS
Your WZ14:4:2+ is ruggedly constructed to withstand the rigours of the road whether location
mixing or live gigging. However, you will extend the life of the console and preserve its cosmetics
by applying these simple common sense precautions.
Prevent damage to the controls and cosmetics by avoiding drinks spillage, tobacco ash, smoke,
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.
Protect from excessive dirt, dust, heat and vibration when operating and storing.
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.
TRANSPORTING THE CONSOLE
WZ14:4:2+
The console may be transported as a free-standing unit or mounted in a rack or flightcase. Ensure
that the connector pod is secured in place with the locking screws fitted to prevent movement. Use
adequate packing if you need to ship the unit.
USER GUIDE 5
OVERVIEW OF THE MixWizard 14:4:2+
The WZ14:4:2+ combines uncompromised features with impressive performance for live sound
engineering and recording. Built on the established tradition of innovative British design and
manufacture, WZ14:4:2+ is solidly reliable for a hard life on the road and uniquely versatile for any
audio mixing application. The WZ14:4:2+ is equally at home alongside top of the range live sound
consoles such as the ALLEN & HEATH GL4000, in use in theatres, houses of worship, conference
and club installations, home and recording studios, or multi-tasking with equipment hire
companies. Check out the key features:
The Mix Wizard QCC (Quick Change Connector) system lets you quickly rotate the connectors for
rear access desk top operation, or for underside access as required when mounted in a compact
10U 19” rack space.
MSP (Minimum signal path) for transparent audio is achieved by careful circuit design using high
grade, low noise discrete and IC components aimed at providing the shortest signal path from input
to output.
The 10 mic/line input channels each feature a 4 band EQ with 2 mid-sweep controls for source
correction or enhancement equalisation, a 100Hz lo-cut filter, an EQ IN switch and individual
phantom power switching on the rear panel for inputs channels, and a global on/off switch on the
front panel. In addition, 6 auxiliary sends with up to 6dB of boost may be switched Pre/Post fader in
groups 1-4 and 5-6. The input pre-amplifier provides a wide 70dB gain range for soft and loud
signal sources. Cable matching is no longer a problem as each input offers both professional XLR
and metal TRS jack sockets for any signal level, mic or line. A smooth action 100mm long travel
fader with PAN control, ON switch and LED, Pre Fade Listen (PFL) switch, L-R, & groups 1-2, 3-4
routing switches and PEAK (PFL) LED indicator complete the input channel. INSERTS for effects
patching and DIRECT OUTPUTS for multitrack recording are also provided on the rear panel.
The 2 full facility stereo input channels feature dual inputs, A (RCA phonos) and B (jacks) each
with individual gain control and on/off switching. A 4 band EQ with HF and LF shelving together
with two fixed frequency peak/dip mid controls MF1 and MF2 providing 15dB of cut or boost.
A further 4 stereo returns ST1-4 each with feeds for AUX and L-R routing bring the total number
of input connections up to 26.
The Master section includes 100mm GROUP and L-R master faders each with AFL, balanced
XLR connectors on all outputs and INSERTS for signal processing. The MONO output is on
balanced XLR with mode switching for either LR sum (mono) output or PFL/AFL for an
engineer’s listen wedge speaker. The groups also feature individual PAN controls with L-R and ON
switches.
Above the groups, the AUX SEND master level controls provide an extra 10dB boost and AFL
switches for monitoring. The GROUP/AUX reverse switch bank is located below the aux master
section. Mode switching enables the user to reverse the aux outputs with the group outputs to
configure the console for either FOH operation or on stage monitoring or both. This provides aux
masters on balanced XLRs with inserts and fader control. The groups are redirected to the Aux
master level controls and are on balanced TRS jacks. Individual mode switching for each
Aux/Group is available permitting a wide variety of applications. Refer to the MODE SWITCHING
section on page 16.
A useful oscillator allows a tone or pink noise signal to be sent to key outputs for system
checking/alignment. Refer to Page 18 for details.
A headphone socket with level control is provided together with two 12 segment bargraph level
meters for L & R signal monitoring.
2-Track recording and playback is set with the individual send and return level controls with routing
for replay to the L-R mix. An XLR socket is provided for the talkback mic with a trim control for
talkback to aux 1-2, 3-4, 5-6 in pairs.
A rugged all metal construction features all-metal jack sockets combined with individual circuit
boards secured to the front panel via all rotary controls. No-nonsense solid build ensures on-the
road reliability.
6 WZ14:4:2+
USER GUIDE
FRONT PANEL LAYOUT
5
0
10
GAI N
-5
PAD
-30dB
40
30
GAI N
PAD
20- 10
60 30
100Hz
0
HF
12kHz
-15
3kHz
1k
700
500Hz
15kHz
0
MF1
-15
180Hz
60
45
35Hz
0
MF2
-15
0
LF
60Hz
-15
EQ
IN
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
PAN
L
ODD
EVEN
ON
PEAK
!
PAD
-30dB
40
30
GAI N
50
+15
5k
7k
+15
300
450
1kHz
+15
+15
0
+6
0
+6
0
+6
0
+6
POST
PRE
0
+6
0
+6
POST
PRE
50
PAD
20- 10
60 30
100Hz
0
HF
12kHz
-15
+15
3kHz
1k
5k
7k
700
500Hz
15kHz
0
MF1
-15
+15
180Hz
60
300
45
450
35Hz
1kHz
0
MF2
-15
+15
0
LF
60Hz
-15
+15
EQ
IN
AUX
1
0
OO
+6
AUX
2
0
OO
+6
AUX
3
0
OO
+6
AUX
4
0
OO
+6
POST
PRE
AUX
5
0
OO
+6
AUX
6
0
OO
+6
POST
PRE
PAN
R
L
R
ODD
EVEN
ON
PEAK
!
PFLPFL
10
L-R
1-2
3-4
10
L-R
5
5
1-2
0
0
3-4
-10
GAI N
-5
-10
HF
12kHz
-15
MF1
-15 +15
MF2
-15
LF
60Hz
-15
AUX
1
O
AUX
2
O0+6
AUX
3
OO
AUX
4
AUX
5
AUX
6
O
BAL
L
ODD
PEAK
PFL
L-R
1-2
3-4
15
20
ON
5
0
10
15
20
ON
MONO
0
+15
0
0
+15
0
+15
EQ
IN
0
O
+6
O
0
+6
0
+6OO
POST
PRE
0
+6OO
0
O
+6
POST
PRE
R
EVEN
ON
!
10
5
0
5
0
10
GAI N
-5
15
20
-10
0
GAI N
-5
-10
OSC/ N OI SE
ON
TRIM
5
10
15
20
MIC
IN
1kHz OSC
PINK NOISE
TALKBACK
TRIM
GROUP AUX
ON
MONO
0
HF
12kHz
-15
+15
0
MF1
1kHz OSC/ PINK NOISE PRESS TO TALK
ON
!
WZ14:4:2+
+15
-15
0
MF2
-15
0
LF
60Hz
-15
EQ
IN
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
BAL
L
EVEN
ODD
ON
PEAK
!
AUX
AUX
AUX
1
2
0
+15
+15
+6
OO
L-R
0000
OO
0
OO
+6 OO +60O
L-R L-R L-R
OO+10 +10
PFL PFL
0
+6
0
+6
0
+6
0
+6
POST
PRE
0
+6
0
+6
POST
PRE
R
AUX
AUX
0
0
2
1
OO
OO+10 +10
AFL
AFL
REV REV REV REV REV REV
1
PEAK
+6
0
SIG
PAN
L
23
PEAK
+6
0
SIG
L-R
L-R
PAN
RL R
ON
ON
1
2
AFL AFL AFL AFL AFL
AFL
3
OO +10
AUX
3
OO+10
PEAK
+6
0
SIG
PAN
L
AUX
PFL
AUX
0
AFL
L-R
PAN
RL
ON
3
4
4
POWER ON
5
4
6
783
3
2
0110
91
SEND
2-TRACK
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
MONITOR
0
O
+6
OO
LEV
+10
PFL
STEREO
RETURNS
AUX
AUX
0
0
6
5
OO
+10
OO
AFL
AFL
4L5 R 6
PEAK
PEAK
+6
+6
0
0
SIG
SIG
LR SUM
L-R
MONO
AFL/PFL
LISTEN WEDGE
R
ON
4
M
ON
L
5
654
7
2
8
9
RETURN
100
L-R
REPLAY
PFL/AFL
654
7
3
2
8
19
100
L-R
2TRK
0
OO+10 +10
AFL
AUX
SENDS
GRP/AUX
REVERSE
PEAK
+6
OPERAT ING MOD E
0
FRONT - OF- HOU S E
STAGE MONITOR
SIG
MONO
OUTPU T
0
OO
+10
ON
R
6
PFL
10
L-R
5
1-2
0
3-4
10
5
0
10
10
5 5
10
55105
0 0 0 0 0
10
555555
WZ14:4:2+
10
10
10
10
10
10
20
20
30
30
MAIN
OUTPUTS
DUAL
STEREO
10
20
30
OO
10
20
30
OO
10
20
30
OO
DUAL
STEREO
10
20
20
20
20
30
30
OO
30
OOOOOOOOOOOO
20
30
30
5 6
USER GUIDE 7
REAR PANEL LAYOUT
2-TRACK
RETURN
LL
RR
M
OUT
STEREO
RETURNS
R
L /
1
R
L /
2
R
L /
3
R
L /
4
Made in the UK by ALLEN & HEATH
INSERT
SEND
L3
A5
OUT
INSERT
MONO
OUTA6OUT
MONO
AUX 6
MONO
MONO
A DIVIS ION OF HARMAN I NTERNATIONAL INDUSTRIES Lt d.
OUTPUT S
INSERT
INSERT
1
A3
A1
OUT
OUT
INSERT
INSERT
4R
2
A4
A2
OUT
R
L
G4 G3 G2
AUX 5
AUX 4
OUTPUT
SYS-LINK
OPTION
AUX 3
STEREO INPUTS
13-14
A
IN
R
B
IN
MINM
L /
R
G1
AUX 2
AUX 1
INPUT
MixWizard
11-12
INSERT10INSERT
A
IN
LL
R
10IN9
B
L /
R
DIR9DIR
OUT
10
GRP/A UX
M3x12MM
REVERSE
AUX
SENDS
XLR OUT
BALANCED
1
- OUT
LINE
IN/OUT
IMPEDANCE BALANCED
INSERT
SEND
RETURN
3
SPECIFICATIONS
0 dBu = 0.775 Volts rms 0 dBV = 1 Volt rms
HEADROOM:...............................................+21dB channels
...............................................................+23dB mix to output
MAX OUTPUT: Balanced ........+25dBu 2kohm max load
Unbalanced....+21dBu 2kohm max load
METERS: L, R.................peak reading 12 bar LED
PEAK LEDs: ............................ Turn on 5dB before clipping
FREQUENCY RESPONSE:............. 20Hz to 50kHz +0/-1dB
DISTORTION: THD+Noise at +14dBu 1kHz
Channel to mix output ............................................... 0.006%
WEIGHT: unpacked 11kg, packed 14kg
CONNECTIONS
9
INSERT8INSERT
IN
IN
8IN7
DIR
DIR
OUT7OUT
OUT
8
MIC 9
MIC 10
+48V
+48V
2
2
+OUT
INPUT
TIP +
TIP
RINGRING -
TIPTIP
RINGRING
14:4:2WZ
SERIAL No:
+48V
+IN
1
- IN
3
TIPTIP + IN
RINGRING -IN
MIC/ LINE I NPUTS
7
6
INSERT
DIR
OUT
MIC 7MIC 8
+48V
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THI S APPARATUS TO RAIN OR MOISTURE.
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
WARNI NG: FOR C ONTI NUE D PROTE CTI ON AGAI NST RIS K OF FI RE
REPLACE FUSE WITH SAME TYPE AND RATING
ATTENTION: REMPL ACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
53
INSERT
IN
IN
IN
6
5
4
DIR
DIR
OUT
OUT
6
MIC 6
+ 48V
CAUTION
100 - 240V~ T500mA 250V 20mm
4
5
MIC 5
+48V
FUSE
4
DIR
OUT
MIC 4
+48V
2
OUT
INSERT
IN
2
DIR
2
MIC 2
+48V
OUT
INSERT
IN
1
DIR
1
INSERTINSERT
IN
3
3
MIC 3
+48V
WARNING - THIS APPARATUS MUST BE EARTHED.
SUPPLY VOLTAGE RANGE:
100 - 240V
AC MAINS IN ~
47-63Hz ~ 30W MAX
OFF
REFER TO USER GUIDE BEFORE CONNECTING SUPPLY
NO USER SERVI CEABL E PARTS I NSI DE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
1
PHANTOM POWER
~
MIC 1
+48V
ON
CROSSTALK: Referred to driven channel at 1kHz
Channel fader off........................................................<-90dB
Channel off.................................................................<-90dB
NOISE: Measured rms 22Hz to 22kHz bandwidth
Mic input EIN (150 ohm source)...............................<-128dB
LR output residual noise ......................<-97dBu (101dBS/N)
LR faders unity mix noise....................<-87dBu (-91dB S/N)
POWER SUPPLY: internal, linear regulated
AC Mains input:...................... IEC socket with lead supplied
..................................................100 to 240V AC @ 50/60Hz
.............................................factory wired to country voltage
Power consumption:............................................... 35W max
Mains Fuse rating:.................. 100-120V AC T630mA 20mm
............................................... 220-240V AC T315mA 20mm
INPUTS:
Channel 1-10 in............ XLR.............................. pin 2 hot, 3 cold, bal ..................PAD out ........... 2k ohm variable -60 to -20dBu
..................................... TRS jack ...................... tip hot, ring cold, bal ..................PAD in ............. >10k ohm variable -30 to +10dBu
Stereo 11/12-13/14 in... TRS jack (L/M,R) ......... tip sig, ring gnd, unbal ...............>10k ohm......... -20 to +10dBu
..................................... RCA PHONO ............... unbalanced ................................>10k ohm......... -20 to +10dBu
Stereo return ................ TRS jack ...................... tip sig, ring gnd, unbalanced .....>10k ohm.........-10dBV minimum
2-Track return............... RCA PHONO ............... unbalanced................................>10k ohm......... variable -10dBV minimum
Talkback mic in ............ XLR .............................. pin 2 hot, 1 cold, unbalanced ....2k ohm............. variable -40 to -15dBu
INSERTS:
Channel 1-10 Insert...... TRS jack ...................... tip send, ring return, unbal.........<75 ohm, >3k ohm 0dBu
L-R mix/groups............. TRS jack ...................... tip send, ring return, unbal.........<75 ohm, >7k ohm -2dBu
OUTPUTS:
L,R/Groups out............. XLR.............................. pin 2 hot, 3 cold, balanced .................... <75 ohm..........+4dBu
Mono out ...................... XLR.............................. pin 2 hot, 3 cold, balanced .................... <75 ohm..........+4dBu
Aux 1-6 out.................. TRS jack...................... tip hot, ring cold, balanced .................... <75 ohm..........+4dBu
2-Track send ................ RCA PHONO............... unbalanced ............................................ <75 ohm..........variable -10dBV minimum
Phones out................... TRS jack ...................... tip left, ring right..................................... for stereo headphones 30 to 600 ohms
Channel direct out........ TRS jack ...................... tip hot, ring cold, impedance balanced.. <75 ohm...........0dBu
8 WZ14:4:2+
USER GUIDE
INSTALLING THE CONSOLE
The Mix Wizard Series features the ALLEN & HEATH Quick Change Connector (QCC) system.
The rear connector pod may be hinged and locked into either of two positions: Rear connectors for
desktop operation with the control panel sloped at a convenient 15 degrees, or underside
connectors for 19" rack mounting in a compact 10U space. The connector position can be easily
changed at any time to fit your application.
To change the
position remove the
crosshead locking
screw on each side,
swing the connector
pod into position, and
refit the two screws
19” RACK MOUNTING
PRECAUTION :
Do not transport or carry the
console with the locking screws
removed.
Do not attempt to remove the
connector pod from the console.
Mount the console in the rack
using 4x M6 bolts each side for
maximum strength. We
recommend you fit the bolts with
plastic cup washers to protect the
panel, and they look good...
These should be available from
the supplier of the rack unit or a
good hardware store.
FLIGHTCASING
The console can be easily
flightcased in either connector
mode. Provide the dimensions
shown here to your flightcase
supplier.
DESKTOP OPERATION
WZ14:4:2+
The console is fitted with rubber feet
to ensure it does not slip or scratch
the work surface. The control panel is
angled at 15 degrees for operating
convenience.
USER GUIDE 9
CONNECTING MAINS POWER
TO REDUCE TH E RISK OF FI RE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
CAUTION
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
100 - 240V~ T500mA 250V 20mm
WARNI NG: FOR CONT IN UED PROTECT ION A GAI NST RI SK OF F IRE
REPLACE FUSE WITH SAME TYPE AND RATI NG
ATTENTION: REMPLACER LE FUSIBL E AVEC UN DES MEMES CARACTERISTIQUES.
WARNING - THIS APPARATUS MUST BE EARTHED.
SUPPLY VOLTAGE RANGE:
~
47-63Hz ~ 30W MAX
OFF
ON
FUSE
AC MAINS I N ~
REFER TO USER GUID E BEFORE CONNECTI NG SUPPL Y
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
100 - 240V
EARTHING
The connection to earth (ground) in an audio system is important for two reasons:
SAFETY - To protect the operator from high voltage shock associated with the AC mains supply
1.
feeding the system, and
2.
AUDIO PERFORMANCE QUALITY - To minimise the effect of earth (ground) loops which
result in audible hum and buzz, and to shield the audio signals from interference.
For safety it is important that all equipment earths are connected to mains earth so that exposed
metal parts are prevented from carrying high voltage which can injure or even kill the operator. It is
recommended that the sound engineer check the continuity of the safety earth from all points in the
system including microphone bodies, guitar strings, multicore cases, equipment panels ...
The same earth is also used to shield audio cables from external interference such as the hum
fields associated with power transformers, lighting dimmer buzz, and computer radiation.
Problems arise when the signal sees more than one path to mains earth. An ‘earth loop’ (ground
loop) results causing current to flow between the different earth paths. This condition is usually
detected as a mains frequency audible hum or buzz.
To ensure safe and trouble-free operation we recommend the following:
• Do not remove the earth connection from the console mains plug. The console chassis is
connected to mains earth through the power cable to ensure your safety. Audio 0V is
connected to the console chassis internally. If problems are encountered with earth loops
operate the audio ‘ground lift’ switches on connected equipment accordingly, or disconnect the
cable screens at one end, usually at the destination. It is useful to carry ground lift cable
adapters such as short XLR male to female leads with pin 1 disconnected.
• Avoid running audio cables next to mains, computer or lighting cables, or near thyristor
dimmer and power supply units. If unavoidable, cross these at right angles.
• Use low impedance sources such as microphones rated at 200 ohms or less to reduce
susceptibility to interference. The console outputs are designed to operate at very low
impedance to minimise interference problems.
• Use balanced connections where possible as these provide further immunity by cancelling
out interference that may be picked up on long cable runs. To connect an unbalanced source
to a balanced console input, link the cold input (XLR pin 3 or jack ring) to 0V earth (XLR pin 1 or
jack sleeve) at the console. To connect a balanced console output to an unbalanced
destination, link the cold output to 0V earth at the console.
• Use professional quality cables and connectors and check for correct wiring and reliable
solder joints.
• If you are not sure ... Have your system checked by a competent engineer, or contact your
local Allen & Heath agent for advice.
Refer to the SAFETY WARNING on page 5 of this Guide.
Check that the correct mains lead with moulded plug has been
supplied with your console. Read and understand the
warnings and instructions printed on the rear panel and
reproduced here. The power supply accommodates mains
voltages within the range 100-240V without changing any
fuses or settings.
It is standard practice to turn connected power amplifiers
down or off before switching the console on or off. Ensure
that the IEC mains plug is pressed fully into the rear panel
socket before switching on.
10 WZ14:4:2+
USER GUIDE
PLUGGING UP THE SYSTEM
Mix Wizard 14:4:2+ uses professional grade 3-pin XLR, 1/4" TRS jack and RCA PHONO
The
sockets. The applications diagrams on pages 19 to 21 illustrate typical equipment
interconnections. 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 failures are due to faulty interconnecting leads.
CONNECTOR PINOUTS
CONNECTORS, CABLES AND THEORY
All input and output XLR connectors are 3-wire differentially balanced. These have 3 connector
pins: pin 1 = ground (cable screen), pin 2 = signal +ve, pin 3 = signal -ve
All the master output
signal +ve, ring = signal -ve, sleeve = ground (cable screen).
Avoid reversing +ve and -ve on balanced connections as this will result in out of phase signals
(reverse polarity) causing signal cancellation effects. This situation is particularly common in multimicrophone mixing.
For live work where long cables runs are required, balanced interconnections should be used.
Short interconnections between more affordable 2-wire (signal, ground) unbalanced effects units or
signal processors and mixing console may be utilised. Refer to the following diagram for
unbalanced to balanced connections.
jack connectors are 3-wire balanced. These have 3 connector pins: tip =
WZ14:4:2+
DEALING WITH GROUND LOOPS, BUZZ AND INTERFERENCE
For optimum performance all audio signals should be referenced to a solid, noise-free earth point,
frequently referred to as the ‘star point’ or ‘clean earth’.
A ground loop is created when the signal has more than one path to ground (earth). Should you
experience hum or buzz caused by ground loops, 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.
To avoid interference pickup keep audio cables away from mains power units and cables, thyristor
dimmer units or computer equipment. Where this cannot be avoided, cross the cables at right
angles to minimise interference.
CONNECTING CHANNEL INPUTS
Both microphone and line sources such as keyboards, replay devices and effects processors can
be plugged into either the jack or XLR input for convenience. Do not connect to both at the same
time. The channel accepts a wide 70dB range of source levels. The balanced 3-wire input
provides the best immunity to interference pickup on long cable runs.
USER GUIDE 11
PLUGGING UP THE SYSTEM (CONT’D)
ONNECTING CHANNEL INPUTS (CONT’D)
C
CONNECTING TO CHANNEL INSERTS
You do not need to plug anything into the channel insert socket for normal operation. You may,
however wish to insert a signal processor such as a compressor/limiter or noise gate into the
channel signal path to prevent excessive peaks or to cut down source noise. The insert lets you
do this by breaking the signal path after the input pre-amp and before the EQ. Use a Y-lead or
suitable TRS jack lead to connect to the external processor. The insert operates at 0dBu line level.
Adjust the processor input and output levels for optimum signal level.
CHANNEL DIRECT OUTPUTS
The channel direct output taps the signal off post-fader (pre-fader if the internal link option is
changed) for connection to external processing or recording equipment. This is ideal for multitrack
recording during a live performance. Here each channel can be recorded on a separate track for
mixdown later. The output is impedance balanced on TRS jack. This means that you get the
benefit of interference immunity when connecting to outboard equipment with balanced inputs.
You can, of course, also connect to unbalanced equipment. The signal operates at nominal 0dBu
line level.
L-R MAIN OUTPUTS
These 3-wire balanced outputs on XLR connectors operate at a nominal +4dBu to drive
professional equipment over long cable runs without interference pickup. Connect to an amplifier,
of suitable power rating for the venue, to drive the PA loudspeakers. Or connect to a 2-track
recorder for studio or location recording.
12 WZ14:4:2+
USER GUIDE
PLUGGING UP THE SYSTEM (CONT’D)
MIX INSERTS
L-R
Operation is identical to channel inserts. Use these sockets if you wish to insert external signal
processing equipment into the mix pre-L-R fader. For live sound it is common to insert graphic
equalisers to adjust for the room acoustics. Use a suitable Y-adapter lead as illustrated on page
12 : tip = send, ring = return.
GROUPS
Groups 1-4 are output to 3-wire balanced XLR connectors to drive long cable runs. Inserts are
provided as for the L-R outputs. Groups can be used to drive additional power amplifiers and
speakers or for 4 track recording. If
faders are connected to the corresponding aux buss (Aux 1 to Group 1 fader, etc...). Refer to
MODE SWITCHING section on page 16 for more information.
AUXILIARY SENDS
Auxiliaries 1-6 can be used to set up one or more stage monitor mixes or effects sends. Auxiliary
outputs are on 1/4” TRS jacks.
Set up a
are 3-wire balanced for interference rejection when plugged into equipment with balanced inputs.
Set up a
delay. Return the processed signal to the mix by plugging the device output into stereo returns 14, or into a stereo channel input. These inputs can operate balanced or unbalanced. For a mono
return simply plug into the L input, leaving R unplugged. The setting of the channel aux send
control combined with that of the fader position determines how much of the signal is sent to the
aux master and subsequently to the effects unit.
If
to the corresponding group busses (Group 1 to Aux Master 1, etc...). Refer to
SWITCHING
pre-fade aux mix to send a stage monitor or cue mix to the performers. The aux outputs
post-fade aux mix to send channel signals to an external effects device such as reverb or
MODE SWITCHING aux/groups reverse is in operation, aux master level controls are connected
section on page 16 for more information.
MODE SWITCHING aux/groups reverse is in operation, group
MODE
WZ14:4:2+
TWO TRACK RECORD AND REPLAY
Individual RCA phono sockets are provided for connecting a 2-Track stereo recorder such as a
cassette or DAT machine. Connect the recorder input (REC) connections to the send sockets and
the recorder output (PLAY) connectors to the return sockets.
The return can be switched to L-R mix for recording playback. The return can also be used for
intermission replay from a CD player or similar playback device
USER GUIDE 13
MONO INPUT CHANNEL
PAD - Attenuates the input signal by 30dB. It affects both the XLR and jack inputs. Press this
PAD
-30dB
40
30
GAI N
50
PAD
- 10
306020
100Hz
0
HF
12kHz
-15
+15
3kHz
1k
5k
7k
700
15kHz
500Hz
0
MF1
-15
+15
180Hz
60
300
45
450
35Hz
1kHz
0
MF2
-15
+15
0
LF
60Hz
-15
+15
EQ
IN
AUX
1
+6OO
AUX
2
+6OO
AUX
3
+6OO
AUX
4
+6OO
POST
PRE
AUX
5
+6OO
AUX
6
+6OO
POST
PRE
PAN
LR
EVENODD
ON
PEAK
!
PFL
10
L-R
5
1-2
0
3-4
5
10
0
0
0
0
0
0
switch when the input signal is too high with the GAIN control backed off.
GAIN - Use this control with the PAD switch to adjust the channel input sensitivity to match the
connected source (-60 to +10dBu) to the console operating level (0dBu). Press the PFL switch to
check that the signal reads an average ‘0’ on the meters.
100Hz LO-CUT FILTER - Attenuates frequencies below 100Hz to reduce low frequency source
noise such as microphone proximity popping, stage noise and transport rumble. It can also be
used to clean up sounds which do not have much bass content, such as vocals and cymbals.
EQUALISER - This provides separate, simultaneous control of 4 frequency bands. Each band
may boost or cut by up to +/- 15dB. The centre flat position is detented for quick resetting.
HF and LF bands have a shelving response which means that all frequencies beyond the
The
turning point frequency are affected, HF = 12kHz, LF = 60Hz. Use HF to add sparkle or to
reduce source hiss. Use LF to add punch to the bass instruments. Used with the LO-CUT filter
you can tailor the low frequency response exactly as you require.
The two
swept mid frequency bands have a peak/dip (bell shaped) response which means that
the maximum boost or cut occurs at the selected (centre) frequency. The centre frequency can
be swept over a wide range. MF1 = 500Hz to 15kHz, MF2 = 35Hz to 1kHz. Use the mids to add
warmth or presence to the sound or to notch out problem resonances which can result in
feedback.
EQ IN - Press to switch the EQ into the signal path.
AUXILIARY SENDS - You can set up to 6 separately balanced mixes using the aux send
controls. Up to +6dB of additional boost is available.
Aux 1 - 4 and Aux 5 - 6 can be used as either MONITOR SENDS to the performers or as
EFFECTS SENDS to external signal processing equipment. The output can be monitored using
the aux send master AFL system. MONITOR SENDS are normally set pre-fader (PRE) and
EFFECTS SENDS normally post-fader (POST). When set to POST, the amount of channel
signal in the monitor mix is dependent on the channel fader level. Pre-fade aux sends are postEQ, post-ON as standard (can be reconfigured pre-EQ or pre-ON by setting internal links).
PAN - Positions the channel signal within the stereo image, L (odd groups) and R (even groups).
The centre position (mono image) is detented for quick resetting.
ON - This turns the channel signal on or off. Status is indicated by the LED.
PEAK - The red LED illuminates when the signal is within 5dB of clipping. Should this occur turn
back the GAIN control to reduce the signal level. This LED also half illuminates when a PFL
switch is pressed.
PFL - Press PFL (Pre Fade Listen) to listen to the pre-fade signal on headphones or local monitor
without affecting the main outputs. The signal level is shown on the L and R bargraph meters.
L-R, 1-2, 3-4 ROUTING SWITCHES - These switches route the channel signal to L-R master and
groups 1-2, 3-4. Use the pan control to route to individual groups, i.e. left to L, 1 or 3, or right to
R, 2 or 4.
+48V PHANTOM POWER - This is switched individually for input on the rear panel. Phantom
power may be switched off altogether with global
headphone socket.
Channel fader - 100mm smooth action fader controls the overall channel level. All post fade aux
send levels are dependent on the level of the channel fader.
+48V switch located on the front panel near the
20
30
OO
14 WZ14:4:2+
USER GUIDE
STEREO INPUT CHANNEL
DUAL
STEREO
GAI N
-5
GAI N
-5
HF
12kHz
MF1
MF2
LF
60Hz
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
BAL
L
PFL
L-R
1-2
3-4
5
0
-10
ON
5
0
-10
ON
MONO
0
-15
0
-15 +15
0
-15
0
-15
EQ
IN
O
O
O
O0+6
OO
O
O
ODD
EVEN
ON
PEAK
!
10
10
20
30
OO
10
15
20
DUAL INPUTS A & B
- The stereo input channel features a dual input on RCA Phonos (A)
and TRS jacks (B). This is ideal for fast switching between stereo sources without having to
10
15
20
repatch the console or mixing two stereo sources together.
GAIN A -
Use this control to adjust the channel input sensitivity to match the connected
source (-20 to +10dBu) to the console operating level (0dBu) on the RCA Phono
connectors. Press PFL to check the signal reads an average of ‘0’ on the meters.
ON A - Selects stereo source A (RCA PHONOS)
GAIN B - Use this control to adjust the channel input sensitivity to match the connected
+15
source (-20 to +10dBu) to the console operating level (0dBu) on the TRS Jack connectors.
Press PFL to check the signal reads an average of ‘0’ on the meters.
ON B - Selects stereo source B (TRS JACKS). Press both A and B to mix both sources
together.
+15
MONO - Combines the left and right outputs to mono the source. May also be used to input
a mono source to the stereo channel path.
+15
EQUALISER - Shelving HF and LF and two fixed frequency peak/dip mid controls provide
15dB of boost or cut. The mid frequency controls provide optimum control over boomy or
0
+6
boxy sounds and to add bite or reduce harshness of keyboards, vocals, etc. Use the mids
to add warmth or presence to the sound.
EQ IN - Press to switch the EQ into the signal path.
0
+6
0
+6OO
POST
PRE
0
+6OO
0
+6
POST
PRE
AUXILIARY SENDS - You can set up to 6 separately balanced mixes using the aux send
controls. Up to +6dB of boost is available.
Aux 1-4 and Aux 5-6 can be used as either MONITOR SENDS to the performers or as
EFFECTS SENDS to external signal processing equipment. The output can be listened to
using the aux master AFL system. MONITOR SENDS are normally set pre-fader (PRE) and
EFFECTS SENDS normally post-fader (POST). When set to POST, the amount of channel
signal in the monitor mix is dependent on the channel fader level. Pre-fade aux sends are
post-EQ, post-ON as standard (can be reconfigured pre-EQ or pre-ON by setting internal
links).
The Left and Right stereo signals are summed to provide aux feeds in mono. However
internal link options allow for pre or post aux sends as stereo pairs i.e. AUX 1 = left, AUX 2
R
= right, etc. Refer to the options section in this user guide.
BAL - Balances the channel signal within the stereo image, L (odd groups) and R (even
groups). The centre position is detented for quick resetting.
ON - This turns the channel signal on or off. A LED indicates status.
5
PEAK - The red LED illuminates when the signal is within 5dB of clipping. Should this occur
turn back the GAIN control to reduce the signal level. This LED also half illuminates when a
0
PFL switch is pressed.
PFL - Press PFL to listen to the pre-fade signal (mono) on headphones or local monitor
without affecting the main outputs. The signal level is shown on the L and R bargraph
meters.
L-R, 1-2, 3-4 ROUTING SWITCHES - These switches route the channel signal to L-R
master, groups 1-2, 3-4. Use the
BAL control to route to individual groups or to adjust the
balance between the left and right signals.
Channel fader - 100mm smooth action fader controls the overall channel level. All post
fade aux send levels are dependent on the level of the channel fader.
WZ14:4:2+
USER GUIDE 15
GROUP/AUX OUTPUT
GROUPS
Group outputs are controlled by 100mm travel faders which offer a further 10dB boost
above the normal ‘0’ dB operating level.
AFL (After Fade Listen) routes the post fader signal to the console meters and headphone
monitoring to allow checks for sound quality and mix level. The
AUX
before the
off.
Each group has a 4 segment LED peak reading meter providing signal presence indication
0
1
and peak warning which illuminates approximately 5dB before clipping.
ON switch allowing the signal to be checked even when the group is switched
ON switches the group output on or off.
AFL signal is sourced
PAN
OO
+10
AFL
REV
1
PEAK
+6
0
SIG
SUB GROUPING
Sometimes it is necessary to control more than one channel simultaneously, in the case of
a drum kit or a group of backing vocalists for example. Route the relevant channels to
groups instead of L-R, using the channel group routing switches and the pan controls. The
PAN control positions the signal in the stereo image with the L-R switch routing the group
output to the Left & Right masters. Ensure the group L-R switch is “in” to route the group
output to the L-R masters. In this way, the level of several channels can be controlled by
one group fader. It is possible to set up mono or stereo subgroups using the channel and
group PAN controls.
L-R
L
R
ON
1
AFL
AUX MASTERS
Each aux mix has a master level control that adjusts the output level to match external
equipment, or to trim the monitor or effects level without affecting the mix balance. Up to
+10dB of boost is available above the nominal ‘0’ position.
MODE SWITCHING
The Mix Wizard 14:4:2+ features a bank of group GROUP/AUX REVERSE (REV)
10
5
0
switches, one for each aux bus located under aux send masters 1-6. These switches are
recessed to avoid accidental operation. Set using a pointed object or a pen tip.
This feature allows you to set the operation of the console for Front Of House, Stage
monitor or a combination of both. With the switches out, the groups operate in the
conventional manner, channel routing being possible with the group routing switches.
5
When the
masters
10
6 are routed to L-R faders respectively. This configuration allows the user to control up to
six monitor mixes with the convenience of controlling levels on faders. Outputs are on
REV switches are pressed in, the group busses are routed to the AUX send
and the aux busses are routed to the GROUPS (Aux 1 to Group 1, etc). Aux 5 &
balanced XLRs for long cable runs and a signal processor (equaliser, compressor, limiter,
etc.) can be inserted into the signal path using the group and left/right insert jacks.
20
The channel L-R and group busses are still operational but are now routed to aux master
controls and can be used for additional monitor or effect sends.
30
OO
It is advisable to study the
flexible routing arrangement.
An example of an application using a combined configuration could be as follows :
Route submix channels 1-6 (drum kit) to groups 1 & 2. GROUPS 1 & 2 panned left & right
respectively and routed to L-R. AUX 3-4 set prefade (
Mix Wizard 14:4:2+ block diagram to fully understand this
PRE) and aux send masters
reversed with groups 3-4 for stage monitor sends. Other channels routed to L-R mix as
normal. Aux 5-6 set post fader (
This shows the versatility of the
POST)for effect sends.
Mix Wizard 14:4:2+. See DUAL MODE application
diagram on
page 21.
16 WZ14:4:2+
USER GUIDE
MASTER & MONITOR
SEND
POWER ON
5
4
6
783
3
2
91
0110
2-TRACK
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
MONITOR
LEV
AUX
0
5
OO
AFL
REV
L
5
PEAK
+6
0
SIG
LR SUM
MONO
AFL/PFL
LISTEN WEDGE
M
ON
L
5
AFL AFL
10
5
0 0
55
10
20
30
OOOO
5 6
5
4
6
7
2
8
9
RETURN
100
L-R
REPLAY
PFL/ AFL
5
4
6
7
3
2
8
19
100
L-R
2TRK
AUX
0
6
OO+10 +10
AFL
AUX
SENDS
REV
GRP/AUX
REVERSE
R
6
PEAK
+6
OPERATI NG MODE
0
FRONT- OF- HOUSE
STAGE MONITOR
SIG
MONO
OUTPUT
0
OO
+10
ON
R
6
10
5
10
20
30
MAIN
OUTPU TS
MAIN L-R OUTPUTS
L-R FADERS - Individual 100mm faders adjust the main L-R mix level with +10dB
boost available 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 recorder input is too
sensitive for the console +4dBu output. Simply turn down the amplifier or recorder
level trim. If none is available then insert an attenuator pad between the console
and connected equipment.
MONO OUTPUT
MONO - Sums L+R mix to produce a mono signal. Output is on a balanced XLR
for long cable runs. A
mono sum to
AFL/PFL. This switch is recessed to avoid accidental operation. Use
MODE SWITCH allows the signal to be switched from the
a pointed object or pen tip to operate.
When switched to
L-R MONO SUM, the MONO output provides for a centre fill or
sub-bass loudspeaker, mono recording or broadcast feed. When switched to
AFL/PFL, you can feed a stage monitor engineer’s listen wedge.
STEREO RETURNS
Four stereo returns ST1 - 4 are provided giving you a total of 26 inputs to the L-R
mix. These are normally used for returning the processed signal from effects
devices. They can also be used for additional submix inputs.
AUX control feeds the summed left and right signal to the corresponding aux
The
bus. This is ideal for returning effects to the monitors without using up valuable
channel inputs. The L-R level control feeds the stereo signal to the L-R mix.
PHONES MONITOR AND BARGRAPH METERS
Use stereo headphones with a nominal impedance of 30 to 600 ohms. Adjust the
LEV control for a comfortable listening level. The phones and the 12 segment
bargraph normally meter the post fade L-R mix or the two track return depending
on the position of the
L-R/2TRK switch. Pressing any AFL/PFL button on the
console will override the monitor with the selected AFL/PFL signal. A large red
LED located below the meters indicates when a
PFL/AFL switch has been
pressed when illuminated.
TALKBACK
An XLR Talkback mic socket is provided on the front panel for connecting a
standard low impedance dynamic microphone. Talkback buttons
1-2, 3-4, 5-6
send the talkback signal to the corresponding aux busses. Press and hold these
buttons for talkback. The
TALK TRIM controls the talkback mic input level.
TWO TRACK SEND AND RETURN
The two track send and return controls are provided for a stereo recorder such as
a cassette or DAT machine. The
performance in stereo or to drive an induction loop hearing aid system. The send
outputs are post L-R fader as standard. Press
signal to the L-R mix. Separate send and return level controls adjust the signal to
the required level and sensitivity. The console can work with both high (+4dBu)
and low (-10dBV) level equipment.
SEND may be used for recording the
L-R REPLAY to route the replay
WZ14:4:2+
USER GUIDE 17
SETTING UP THE SYSTEM
The WZ14:4:2+ Master Section oscillator section provides for two modes of operation:
TONE Mode – A pure 1kHz tone, used for setting up input levels on external devices, such as recording
equipment, FX processors and so on.
Pink Noise Mode – A ‘pink noise’ signal, which is the standard signal-type used by acousticians for setting up
speaker systems, checking for faults in phase, drivers, crossovers etc.
Oscillator Features:
1kHz/Pink Noise Selector – Selects between the two signal types outlined above.
Under-panel mode switch prevents accidental alteration of selection.
Osc/Noise Trim – Allows oscillator level adjustment from –20dBu to +20dBu.
Routing assignments – Routes the oscillator to the group/LR mix busses.
ON – Switches the oscillator on and off. LED indicates status. Under-panel switch
prevents accidental triggering of the oscillator during performances.
OSC/ NOI S E
TRIM
!
1kHz OSC
PINK NOISE
GROUP
1k Hz OSC/ PINK NOISE
ON
WARNING! – The oscillator facility on the WZ14:4:2+ is a powerful tool for audio system checking and setup.
However, the operator should ensure that the ON switch is turned ‘off’ during performances in order to avoid
interruption of the show and possible speaker damage by accidental pressing of the routing switches.
18 WZ14:4:2+
USER GUIDE
FRONT OF HOUSE
Live bands, Theatre, Church, Disco, Club, etc...
MONO
2
4
L
5
FOLDBACK
pre-fade aux sends
EFFECTS
returns
Post-fader aux sends
GRAPHIC EQUALISERS
Graphic equalis ers are used to compensate for
adverse room acoustics. These devices help reduce
acousti c feedback and enhance the clarity of the
sound.
This example shows the 4 groups, L - R
and Mono outputs feeding a 7 stack
FOH amplificat ion system. The groups
provide independent control of the
additional left and right loudspeaker
stacks or may be used for zone feeds or
for subgrouping to the L-R mix.
Select aux 1-4 post fade to access 4
effect processing devices. Use stereo
returns 1-4 to add the effects to L-R and
mono mix. Alternatively, return the
effects to the stereo channels which
allows fader control and EQ to be
added.
AUX
POST
PRE
Select aux 5-6 pre-fader for foldback
monitor sends.
The channel and output inserts may be
used for outboa rd effects and signal
processing devices such as
compressors, limiters a nd graphic
equalisers.
1
3
TWO TRACK RECORDER
R
6
groupsLRMONO
play record
EFFECTS PROCESSOR
TWO TRACK RECORDING AND INTERMISSION
REPLAY
Use the console two track send and return sockets for
connecting a cassette or DAT recorder. Alternatively,
connect a CD player to the console two track return
sockets for intermission replay. This does not affect the
recording process.
12-
34-
56
These switches are recessed
to avoid accidental
operation. Set using a pen
REV REV REV REV REV REV
tip or pointed object.
Set the
AUX REVERSE
switches to the up position for
conventional aux/group
operation
Set the
LR SUM MONO
switch to up for mono out
(L+R sum)
1 R
insert
WZ14:4:2+
USER GUIDE 19
r
STAGE MONITOR
On stage mixing system for local (side of stage) control of performers monitor loudspeakers (wedges) with
dedicated output for monitor engineer’s listen wedge.
to FOH
console
mic
splitter
inserts
AMPLI FIER S
1
2
STAGE MONITORS
3
5
4
ENGINEER'S WEDGE MONITOR
Set up the WEDGE MIX by selecting
one or a combination of the
groups/L-R AFL switches to listen to
the desired monitor outputs. These
are post insert and therefore post
graphic EQ and post fader fo
accurate monitoring.
SIGNAL PROCESSOR
Pressing any PFL or AFL switch
allows channel set up and signal
checking.
GRAPHIC EQUALISERS
Graphic equalisers plugged into the console inserts are an invaluable aid to
reducing on-stage acoustic feedback and enhancing the clarity of the
monitors. Using AFL allows the stage engineer to check the operation of
the equalisers in the listen wedge monitor. It is best to use the same type
of loudspeaker for the engineer's monitor as those used on stage.
6
This example shows the 6 aux sends
routed through the main groups and L-R
outputs to provide 6 independent stage
monitor mixes with metering, ON/OFF
switches, inserts and balanced XLR
connectors.
The AUX/GROUP reverse switches
reroute the group and L-R mix to the
aux jacks outputs for additional
monitoring or effect sends or as
independent submix facilities. For
example, aux 5 and 6 jack outputs may
provide a seperate stereo mix output
from the channel L-R routing switches
and the additional 4 stereo return line
inputs.
Use the groups to add effects such as
delay, reverb or echo to the stage
monitors.
AUX
PRE
PRE
9
12-
34-
56
WZ 14 :4:2
These switches are
recessed to avoid
accidental operation. Set
ST2 ST3 ST4
ST1
REV
REV REV REV REV REV
using a pen tip or pointed
object.
Set the AUX REVERSE
switch to the down
position (below panel) to
route the aux mix through
the groups and L-R XLR
outputs for stage monitor
level control with fader.
Set LR SUM MONO
switch to down (below
panel) for engineer's
1
3
1
10109
1
1
1
--2
1 R
4
20 WZ14:4:2+
listen wedge following
PFL/AFL.
USER GUIDE
DUAL MODE
Left , Centre and Right Front of house system with 4 dedicated stage monitor sends
LEFT
MONO
3
1
STAGE MONITOR
STAGE MONITOR
stereo
returns 1-2
EFFECTS
aux 5-6
COMPRESSORS/LIMITERS
These are often used to prevent excessive peaks
overloading the amplification system, for example in
club installations subject to sound level control.
This example shows the console
configured to control a Left, Right and
Centre Front of House system with 4 full
feature stage monitor mixes.
Stage monitor sends aux 1-4 are set
pre-fade so that the signal level is not
affected by the fader position and the
FOH mix.
Aux 5-6 are set post-fade to access two
effects devices whose outputs are
AUX
PRE
added to the L-R mix via stereo returns
1 and 2. Alternatively, these may be
connected to the stereo channels.
POST
The channel and output inserts may be
used for outboard effects and signal
processors such as compressors,
limiters and graphic equalisers.
RIGHT
4
2
groups 1-4LMONO R
SIGNAL PROCESSOR
inserts
Graphic equalisers plugged into the console
inserts are an invaluable aid to reducing
GRAPHIC EQUALISERS
on-stage acoustic feedback and enhancing
the clarity of the monitors.
9
12-
34-
56
WZ 1 4:4:2
ST2 ST3 ST4
ST1
REV
REV REV REV REV REV
aux 1-4
L-R
These switches are
recessed to avoid accidental
operation. Set using a pen
tip or pointed object.
Set the AUX REVERSE
switch to the down position
(below panel) to route aux
mixes 1-4 through groups
1-4. Set L-R switch in the
up position for conventional
operation.
Set LR SUM MONO switch
to up for mono out (L+R
1
3
1
10109
1
1
--2
1
1 2 4 R
4
sum).
WZ14:4:2+
USER GUIDE 21
CUE SHEET – Copy and use this sheet to record mixer settings
MixWizard
PAD
PAD
-30dB
-30dB
40
30
GAIN
PAD
- 10
HF
12kHz
-15
1k
700
500Hz
MF1
-15
60
45
35Hz
MF2
-15
LF
60Hz
-15
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
PAN
LR
PEAK
10
L-R
1-2
3-4
5
10
40
30
GAIN
50
PAD
306020
20- 10
60 30
100Hz
100Hz
0
0
HF
12kHz
+15
-15
15kHz
+15
1kHz
+15
+15
EQ
IN
+6OO
+6OO
+6OO
+6OO
POST
PRE
+6OO
+6OO
POST
PRE
EVENODD
ON
5k
7k
700
MF1
300
450
45
35Hz
MF2
LF
60Hz
AUX
1
0
AUX
2
0
AUX
3
0
AUX
4
0
AUX
5
0
AUX
6
0
PAN
+15
3kHz
1k
500Hz
15kHz
0
-15
+15
180Hz
60
1kHz
0
-15
+15
0
-15
+15
EQ
IN
OO
+6
OO
+6
OO
+6
OO
+6
POST
PRE
OO
+6
OO
+6
POST
PRE
L
ODD
EVEN
ON
PEAK!PEAK
3kHz
0
180Hz
0
0
!
10
5
5
1-2
0
0
3-4
10
5
0
GAIN
PAD
PAD
PAD
PAD
PAD
PAD
-30dB
-30dB
-30dB
-30dB
3kHz
180Hz
0
0
0
0
!
40
60 30
100Hz
15kHz
EQ
IN
EVEN
ON
5
0
GAIN
50
PAD
HF
12kHz
+15
5k
7k
MF1
+15
300
450
1kHz
MF2
+15
LF
60Hz
+15
AUX
0
+6
AUX
0
+6
AUX
0
+6
AUX
0
+6
POST
PRE
AUX
0
+6
AUX
0
+6
POST
PRE
PAN
R
L-R
1-2
3-4
-30dB
40
30
20- 10
60 30
100Hz
0
-15
+15
3kHz
1k
700
500Hz
15kHz
0
-15
+15
180Hz
300
60
45
35Hz
1kHz
0
-15
+15
0
-15
+15
EQ
IN
1
OO
+6
2
OO
+6
3
OO
+6
4
OO
+6
POST
PRE
5
OO
+6
6
OO
+6
POST
PRE
L
ODD
EVEN
ON
PEAK!PEAK
10
5
0
10
30
GAIN
50
PAD
20- 10
HF
12kHz
-15
5k
1k
7k
700
500Hz
MF1
-15
60
450
45
35Hz
MF2
-15
LF
60Hz
-15
AUX
1
0
OO
AUX
2
0
OO
AUX
3
0
OO
AUX
4
0
OO
AUX
5
0
OO
AUX
6
0
OO
PAN
R
L
ODD
10
L-R
1-2
3-4
10
40
40
30
20- 10
60 30
100Hz
0
-15
+15
3kHz
1k
500Hz
15kHz
0
-15
+15
180Hz
60
45
35Hz
1kHz
0
-15
+15
0
-15
+15
EQ
IN
OO
+6
OO
+6
OO
+6
OO
+6
POST
PRE
OO
+6
OO
+6
POST
PRE
L
ODD
EVEN
ON
!
10
5
0
10
30
GAIN
50
PAD
20- 10
HF
12kHz
-15
5k
1k
7k
700
500Hz
MF1
-15
300
60
450
45
35Hz
MF2
-15
LF
60Hz
-15
AUX
1
0
OO
AUX
2
0
OO
AUX
3
0
OO
AUX
4
0
OO
AUX
5
0
OO
AUX
6
0
OO
PAN
R
L
ODD
PEAK!PEAK!PEAK
10
L-R
1-2
3-4
10
GAIN
50
PAD
HF
12kHz
5k
7k
700
MF1
300
450
MF2
LF
60Hz
AUX
1
0
AUX
2
0
AUX
3
0
AUX
4
0
AUX
5
0
AUX
6
0
PAN
R
L-R
1-2
3-4
40
30
GAIN
50
PAD
60 30
100Hz
0
HF
12kHz
+15
3kHz
5k
7k
700
15kHz
0
MF1
+15
180Hz
300
450
1kHz
0
MF2
+15
0
LF
60Hz
+15
EQ
IN
AUX
1
0
+6
AUX
2
0
+6
AUX
3
0
+6
AUX
4
0
+6
POST
PRE
AUX
5
0
+6
AUX
6
0
+6
POST
PRE
PAN
R
EVEN
ON
L-R
5
1-2
0
3-4
30
GAIN
50
PAD
20- 10
60 30
20- 10
100Hz
0
HF
12kHz
-15
+15
-15
3kHz
1k
5k
1k
7k
700
500Hz
15kHz
500Hz
0
MF1
-15
+15
-15
180Hz
300
60
60
45
450
45
35Hz
35Hz
1kHz
0
MF2
-15
+15
-15
0
LF
60Hz
-15
+15
-15
EQ
IN
AUX
1
0
OO
+6
OO
AUX
2
0
OO
+6
OO
AUX
3
0
OO
+6
OO
AUX
4
0
OO
+6
OO
POST
PRE
AUX
5
0
OO
+6
OO
AUX
6
0
OO
+6
OO
POST
PRE
PAN
L
R
L
ODD
EVEN
ODD
ON
10
10
L-R
5
1-2
0
3-4
10
10
PAD
-30dB
-30dB
40
40
30
GAIN
GAIN
50
50
PAD
60 30
100Hz
0
+15
3kHz
5k
7k
15kHz
0
+15
180Hz
300
450
1kHz
0
+15
0
+15
EQ
IN
+6
+6
+6
+6
POST
PRE
+6
+6
POST
PRE
R
EVEN
ON
!
5
0
PAD
20- 10
60 30
100Hz
0
HF
HF
12kHz
12kHz
-15
+15
3kHz
1k
5k
7k
700
700
500Hz
15kHz
0
MF1
MF1
-15
+15
180Hz
300
60
45
450
35Hz
1kHz
0
MF2
MF2
-15
+15
0
LF
LF
60Hz
60Hz
-15
+15
EQ
IN
AUX
AUX
1
1
0
0
OO
+6
AUX
AUX
2
2
0
0
OO
+6
AUX
AUX
3
3
0
0
OO
+6
AUX
AUX
4
4
0
0
OO
+6
POST
PRE
AUX
AUX
5
5
0
0
OO
+6
AUX
AUX
6
6
0
0
OO
+6
POST
PRE
PAN
PAN
L
R
ODD
EVEN
ON
PEAK
!
PFLPFLPFLPFLPFLPFLPFLPFLPFLPFL
10
L-R
L-R
5
1-2
1-2
0
3-4
3-4
10
-5
PAD
-30dB
-10
40
30
20- 10
100Hz
0
-15
3kHz
1k
500Hz
0
-15
180Hz
60
45
35Hz
0
-15
0
-15
EQ
IN
OO
OO
OO
OO
OO
OO
L
ODD
EVEN
PEAK
!
10
5
0
10
20
ON
50
5
60 30
0
GAIN
-5
-10
20
ON
+15
5k
MONO
7k
0
15kHz
HF
12kHz
-15
+15
+15
0
MF1
300
450
-15 +15
1kHz
0
MF2
-15
+15
+15
0
LF
60Hz
-15
+15
+15
EQ
IN
AUX
1
0
O
+6
O
+6
AUX
2
0
O
O0+6
+6
AUX
3
0
OO
+6
+6
AUX
4
0
+6OO
+6
POST
PRE
AUX
5
0
+6OO
+6
AUX
6
0
O
O
+6
+6
POST
PRE
BAL
L
R
ODD
EVEN
ON
ON
PEAK
!
PFL
10
L-R
1-2
0
3-4
10
5
0
10
15
10
15
0
0
0
POST
PRE
0
0
POST
PRE
R
5
10
GAIN
-5
15
20
-10
OSC/NOISE
ON
TRIM
5
0
10
GAIN
-5
15
20
-10
ON
MONO
0
HF
12kHz
-15
0
MF1
-15
0
MF2
-15
0
LF
60Hz
-15
AUX
1
OO
AUX
2
OO
AUX
3
OO
AUX
4
OO
AUX
5
OO
AUX
6
OO
BAL
L
ODD
PEAK
!
PFL
10
L-R
1-2
3-4
1kHz OSC/ PINK NOI SE PRESS TO TALK
!
+15
WZ14:4:2+
+15
AUX1AUX2AUX3AUX
+15
OO
L-R
+15
EQ
IN
OO
0
+6
AUX
1
0
+6
OO
0
+6
0
1
+6
PEAK
POST
PRE
+6
0
0
SIG
+6
0
PAN
+6
POST
PRE
L
R
EVEN
ON
5
0
10
MIC
IN
1kHz OSC
PINK NOISE
TALKBACK
TRIM
GROUP AUX
ON
0
0
OO
+6 OO +60O
+6
L-R L- R L-R
0000
OO+10 +10
PFL PFL
AFL
REV REV REV REV REV REV
L-R
RL R
ON
1ON2ON3
AFL
OO +10
PFL
AUX
AUX
0
0
3
AFL
L-R
PANLPAN
0
OO+10
AFL
PEAK
+6
0
SIG
L-R
RL
2
OO+10 +10
23
PEAK
+6
0
SIG
PAN
AFLAFLAFLAFLAFL
10
10
10
5 5
5
0
0 0 0 0 0
555555
10
10
10
POWER ON
4
3
2
SEND
0110
2-TRACK
4
0
O
+6
OO
+10
PFL
STEREO
RETURNS
AUX
AUX
0
4
5
OO
+10
OO
AFL
4L5R
PEAK
PEAK
+6
+6
0
0
SIG
SIG
L-R
LISTEN WEDGE
R
ON4ON5ON
10
55105
10
5
AFL/PFL
6
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
MONITOR
LEV
AFL
LR SUM
MONO
L
783
91
0
M
10
5
4
6
7
2
8
9
100
L-R
REPLAY
PFL/AFL
654
7
3
2
8
19
100
L-R
2TRK
AUX
0
6
OO+10 +10
AFL
6
PEAK
+6
0
SIG
MONO
OUTPUT
0
+10
OO
R
6
10
10
RETURN
AUX
SENDS
GRP/AUX
REVERSE
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
20
30
OO
DUAL
STEREO
20
30
OO
DUAL
STEREO
20
30
30
OOOOOOOOOOOO
Notes:
22 WZ14:4:2+
20
20
20
30
30
30
5 6
USER GUIDE
20
30
MAIN
OUTPUTS
OPTIONS
The
sound and recording requirements without modification. The following internal options are offered
to provide alternative settings for those applications which may demand them. These options
require resoldering of circuit board links and should only be carried out by competent technical
personnel. Further information is available from your service agent or the
MANUAL
CHANNEL PRE-FADE AUX SEND OPTIONS
The Pre-fade aux sends are set post-EQ and post-ON as standard. However, link options on each
mic/line channel 1-10 and stereo channels 11-12 and 13-14 circuit board assemblies allow pre-EQ
and/or pre-ON if required.
STEREO CHANNEL AUX SENDS
The stereo input channels allow stereo input signals to feed the auxiliaries as stereo pairs. By
removing a link the left input signal will feed AUX 1, 3, 5, and the right input signal will feed AUX 2,
4, 6.
CHANNEL DIRECT OUTPUT SOURCE
Mix Wizard Series WZ14:4:2+ has a versatile architecture designed to satisfy your live
WZ14:4:2+ SERVICE
.
The direct outputs are sourced post-fader as standard. A link option is available on each channel
assembly to select a pre-fade source.
SYS-LINK
The SYS-LINKTM option is an internally fitted circuit board and wiring harness which can easily be
installed by your service agent. The
consoles to be electronically connected together via a 25 pin D type multiway interconnecting cable
to provide more inputs to the mix.
TM
OPTION
SYS-LINK
TM
option allows up to five ALLEN & HEATH
RIAA OPTION
An RIAA PCB assembly plus earth post can be fitted to input A of each of the two stereo input
channels to allow connection for a turntable. Contact your dealer or service agent.
WZ14:4:2+
USER GUIDE 23
L
4
6
-
-
F
1
1
A
/
P
X
L
R
U
F
A
P
L
R
MixWizard
14:4:2+
MIC/LINE INPUTS x10
DISABLE
TIP= +
+48V
PAD
-30dBu
TIP= SEND
RING= RETURN
TIP= +
RING= -
GAIN
+
-
AUX
L-R
PFL
INPUT
2= +
BALANCED
INSERT
0dBu
DIRECT OUT
0dBu
IMPEDANCE BALANCED
STEREO RETURNS x4
INPUT
L/MONO
R
DUAL STEREO INPUTS x2
INPUT B
L/M
R
INPUT A
L
R
RIAA OPTION
TALKBACK
MIC IN
GAIN
GAIN
MONO
ON
ON
TALK TO AUX
TRIM
1-2
3-4
5-6
4 BAND EQUALISER
LO-CUT
FILTER
-
1 TO A1
2 TO A2
3 TO A3
4 TO A4
4 BAND EQUALISER
HF
MF1
MF2
LF
EQ IN
R
L
HF
MF1
MF2
LF
PRE-FADE
POST-FADE
POST-EQ
PRE-EQ
POST-EQ
PRE-EQ
PEAK
EQ IN
AUX
AUX
PEAK
POST-ON
PRE-ON
POST-ON
PRE-ON
PFL
POST-EQ
PRE-EQ
12
PFL
ON
12
FADER
MONO
ON
POST-ON
PRE-ON
POST
PRE
3
4
FADER
POST
PRE
34
MONO
PHANTOM 48V
PAN
L-R
1-2
3-4
POST
PRE
65
PAN
L-R
1-2
3-4
POST
PRE
56
G
PFL/AFL DC
AUX MIX
GRP MIX
L MIX
PFL/AFL MIX
AUX6 MIX
R MIX
AUX5 MIX
GRP/AUX REV
SL
SL
L/AUX5 REV
SL
SL
SL
SL
R/AU X6 REV
SL
SL
L-R
1-2
3-4
INSERT
LEFT
INSERT
MONO SUM
OR
LISTEN WEDGE
RIGHT
INSERT
ON
LEVEL
AFL
AUX
FADER
-2dBu
AFL
AUX
-2dBu
M
OUT
2 = +
+4dBu
AFL
AUX
-2dBu
L FADER
BAL
R FADER
AFL
AFL
MODE
AFL
TIP= +
ON
TIP= +
ON
MONO
PFL/AFL
TIP= +
ON
AUX SEN D
METER
AUX5
SEND
L METER
L
R
AUX6
SEND
R METER
1KHz OSC
PINK NO ISE
GROUPS 1-4
AUX 1-4
BAL
PAN
L-R
BAL
LR/2-TRK
REPLAY
TO L-R
BAL
GROUP OUT
2 = +
2 = +
2 = +
LEFT OUT
+4dBu
RIGHT OUT
+4dBu
+4dBu
L
RETURN
LEV
SEND
LEV
R
PFL/AF L
SYS-LINK CONNECTION
SL
MONITOR
L
R
MONITOR
L
RETURN
R
2-TRACK
L
SEND
R
PHONES
OUT
TIP = LEFT
RING = RIGHT
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