Manual Allen-Heath MixWizard WZ3-12 (page 33 of 34) (English)

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USER GUIDE

Publication AP5331

MixWizard WZ

16:2 and WZ

12:2

2 WZ

16:2 and 12:2 User Guide

This product complies with the European Electromagnetic

Compatibility directives 89/336/EEC & 92/31/EEC and the

European Low Voltage Directives 73/23/EEC & 93/68/EEC.

This product has been tested to EN55103 Parts 1 & 2 1996 for use in

Environments E1, E2, E3, and E4 to demonstrate compliance with the

protection requirements in the European EMC directive 89/336/EEC.

During some tests the specified performance figures of the product

were affected. This is considered permissible and the product has

been passed as acceptable for its intended use. Allen & Heath has a

strict policy of ensuring all products are tested to the latest safety and

EMC standards. Customers requiring more information about EMC and

safety issues can contact Allen & Heath.

NOTE: Any changes or modifications to the console not approved by

Allen & Heath could void the compliance of the console and therefore

the users authority to operate it.

16:2 and 12:2 User Guide AP5331 Issue 3

ALLEN&HEATH Limited

Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK

http://www.allen-heath.com

Limited One Year Warranty

This product is warranted to be free from defects in materials or workmanship for

a period of one year from the date of purchase by the original owner.

To ensure a high level of performance and reliability for which this equipment has

been designed and manufactured, read this User Guide before operating. In the

event of a failure, notify and return the defective unit to ALLEN&HEATH Limited

or its authorised agent as soon as possible for repair under warranty subject to

the following conditions

Conditions Of Warranty

1. The equipment has been installed and operated in accordance with the

instructions in this User Guide

2. The equipment has not been subject to misuse either intended or accidental,

neglect, or alteration other than as described in the User Guide or Service

Manual, or approved by ALLEN&HEATH.

3. Any necessary adjustment, alteration or repair has been carried out by

ALLEN&HEATH or its authorised agent.

4. This warranty does not cover fader wear and tear.

5. The defective unit is to be returned carriage prepaid to ALLEN&HEATH or its

authorised agent with proof of purchase.

6. Units returned should be packed to avoid transit damage.

In certain territories the terms may vary. Check with your ALLEN&HEATH agent

for any additional warranty which may apply.

16:2 and 12:2 User Guide 3

Important Safety Instructions

WARNINGS

- Read the following before proceeding :

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.

Water and moisture: To reduce the risk of fire or electric shock do not expose the console to

rain or moisture or use it in damp or wet conditions. Do not place

containers of liquids on it which might spill into any openings.

Ventilation: Do not obstruct the ventilation slots or position the console where the air

flow required for ventilation is impeded. If the console is to be operated in

a rack unit or flightcase ensure that it is constructed to allow adequate

ventilation.

Heat and vibration: Do not locate the console in a place subject to excessive heat or direct

sunlight as this could be a fire hazard. Locate the console away from any

equipment which produces heat or causes excessive vibration.

Servicing: Switch off the equipment and unplug the power cord immediately if it is

exposed to moisture, spilled liquid, objects fallen into the openings, the

power cord or plug become damaged, during lightening storms, or if

smoke, odour or noise is noticed. Refer servicing to qualified technical

personnel only.

Installation: Install the console in accordance with the instructions printed in this User

Guide. Do not connect the output of power amplifiers directly to the

console. Use audio connectors and plugs only for their intended purpose.

CAUTION

WARNING: This equipment must be earthed.

4 WZ

16:2 and 12:2 User Guide

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:

WIRE COLOUR

TERMINAL

European USA/Canada

LIVE BROWN BLACK

NEUTRAL BLUE WHITE

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 : To prevent damage to the controls and cosmetics avoid placing heavy

objects on the control surface, scratching the surface with sharp objects,

or rough handling and vibration.

Environment : Protect from excessive dirt, dust, heat and vibration when operating and

storing. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain

and moisture. If the console becomes wet, switch off and remove mains

power immediately. Allow to dry out thoroughly before using again.

Cleaning : Avoid the use of chemicals, abrasives or solvents. The control panel is

best cleaned with a soft brush and dry lint-free cloth. The faders, switches

and potentiometers are lubricated for life. The use of electrical lubricants

on these parts is not recommended. The fader and potentiometer knobs

may be removed for cleaning with a warm soapy solution. Rinse and allow

to dry fully before refitting them.

Transporting : The console may be transported as a free-standing unit or mounted in a

rack or flightcase. Protect the controls from damage during transit. Use

adequate packing if you need to ship the unit.

Hearing : To avoid damage to your hearing do not operate any sound system at

excessively high volume. This also applies to any close-to-ear monitoring

such as headphones. Continued exposure to high volume sound can

cause frequency selective or wide range hearing loss.





16:2 and 12:2 User Guide 5

Introduction

Welcome to the Allen & Heath WZ

, 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. 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.

www.allen-heath.com

Contents

Warranty ................................................ 2

General Precautions.............................. 4

Introduction to this Guide...................... 5

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

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

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

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

Connecting a Backup Supply ...............9

Connection Pinouts and Cables ......... 10

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

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

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

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

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

Stereo Effects Processor.....................18

Stereo Effects Return Channel............19

MIDI......................................................20

Master Section.....................................21

Gain Structure......................................23

Specifications ......................................24

System Block Diagrams ......................26

Effects Parameters ..............................28

User Options........................................30

Cue Sheets ..........................................33

6 WZ

16:2 and 12:2 User Guide

-15

35Hz

180

+15

-15

LAMP

PHONES

TO LR

+6OO

AUX

+6OO

LEV

124

ST6

AUX

PHONES

AUX 1

AUX 2

AUX 4

AUX 5

AUX 3

-6

-9

-3

157

BANK

816

PFL

/ FX

+6OO

MUTE

ST5

LEV

1-2

PRE

+4OO

3-4

5-6

+4OO

AUX

+16

-12

-16

-20

-30

ST5

ST6

ALL UP = LR

MONITOR

ALT LR OUT

+4OO

AUX5 = 1-8

AUX5 = 1-16

AUX6 = 9-16

SINGLE FX

DUAL FX

AUX

AUX 6

/ FX

AUX6

ST5 / FX

SEL

+10

AUX 6

L+R

FACTORY

PRESETS

ROOM

PLATE

HALL

STAGE

ARENA

GATED REV

CHAMBER

CATHEDRAL

CHORUS

PING PONG

SLAP+REV

PH+REV

CH+REV

DUAL

ECHO+REV

DLY+REV

KARAOKE

SINGLE

ROOM

HALL

PLATE

STAGE

ARENA

CATHEDRAL

GATED REV

CHAMBER

HALL

SLAP DLY

ROOM

ECHO

PHASER

CHORUS

DELAY

STAGE

SIG

+6OO

AUX

PRE

+6OO

PFL

MUTE

AUX

BAL

PK!

POST

SIG

POST

PK!

BAL

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

TO LR

11-12

(ST3+ST4)

+15

-15

(ST1+ST2)TO

9-10

LRTO

-15

+15

-5

GAIN

-10

-20

-5

GAIN

-10

-20

-5

GAIN

-10

-20

-5

GAIN

-10

-20

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

16:2 and 12:2 User Guide 7

Introducing the MixWizard

The Allen & Heath MixWizard series of consoles includes several models. This user guide

describes the WZ

16:2 and WZ

12:2 stereo models. The 4 group WZ

14:4:2 and stereo

input WZ20S consoles are described in separate publications. For further information on the

MixWizard series please refer to the Allen & Heath web site.

The MixWizard is a compact console designed for

professional live sound mixing. It is built to the same

high standards as our top of the range consoles, with

individual circuit cards, potentiometers nutted to the

panel for absolute strength, steel chassis, and no

compromise circuit design ensuring the finest sonic

performance.

The console can be operated free standing or in a

19” rack or flightcase. It is supplied with protective

side trims fitted. These can be removed for rack

mounting. The rear connector pod can be easily

rotated for rear facing or underside connectors when

rack mounted.

Both models feature a 4 band semi-parametric EQ

and high pass filter per mic/line channel, 6 aux sends

with combinations of pre/post switching, 100mm

faders, a built-in dual effects processor with

parameter control using Allen & Heath PC software,

dedicated mono output with separate fader and

innovative operating mode for aux fed sub systems,

additional AB stereo output, comprehensive metering

and engineers monitoring, dual redundant backup

supply input, and a lamp socket.

The WZ

16:2 provides 16 mono mic/line inputs and 2

stereo return inputs, a total of 20 input connections.

The WZ

12:2 provides 10 mono mic/line inputs, 2 full

channel dual stereo inputs, and 2 stereo return

inputs, a total of 22 input connections.

The base of the console can be removed to access a

host of internal option jumpers. These set user

preference for the aux, direct output and AB sources.

The aux outputs are impedance balanced but may

be electronically balanced if required by fitting an

optional part. A kit is also available to fit the optional

Sys-Link II output card which allows the console to

be linked to other Allen & Heath consoles.

Software for editing the effects parameters using a

PC computer can be downloaded free from the Allen

& Heath web site.

Other accessories available include the Allen &

Heath MPS12 backup power supply and LEDlamp

gooseneck lamp with built-in dimmer.

8 WZ

16:2 and 12:2 User Guide

Installing the Console

Free Standing

The console is supplied ready for free standing operation with its side trims fitted and

connector pod positioned for rear access. If you are converting from rack to free standing

then make sure the pod is correctly rotated and secured, and the side trims fitted as shown

below:

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.

194

514

530

ROTATE POD AND REFIT SECURING SCREWS

RELEASE M4 POZI SCREW EACH SIDE

FIT SIDE TRIMS - 4x M4 POZI SCREWS PER SIDE

CONSOLE WIDTH = 507mm

101.6165.1101.637.7

482.6 (19" RACK)

444

(10U)

193

497

(11.2U)

SECURE IN RACK USING 8x M6 BOLTS

USE PLASTIC CUP WASHERS TO PROTECT THE PANEL

122

193

16:2 and 12:2 User Guide 9

Connecting Power

Read and understand the Important Safety Instructions printed at the start of this guide,

and the warnings printed on the rear of the console. Check that your local mains supply is

within the 100-240V operating voltage range allowed. Check that the correct mains lead

with moulded plug has been supplied with your console. Make sure that the IEC mains plug

is pressed fully into the panel socket before switching on.

Grounding

The connection to ground in an audio system is important for two reasons:

1. SAFETY - To protect the operator from high voltage electric shock, and

2. AUDIO PERFORMANCE - To minimise the effect of ground (earth) loops which result in

audible hum and buzz, and to shield the audio signals from interference.

For safety it is important that all equipment grounds are connected to mains ground so that

exposed metal parts are prevented from carrying high voltage which can injure or even kill

the operator. Do not disconnect the ground connection in the mains lead. It is

recommended that the system engineer check the continuity of the safety ground from all

points in the system including microphone bodies, turntable chassis, equipment cases, rack

metalwork and so on.

Switching the console on and off

It is good practice to turn power amplifiers off before switching the console and any other

connected equipment on or off. This prevents any unexpected clicks or thumps when the

equipment is powered up.

Turn amplifiers and powered speakers on last and off first.

To turn the console on, press the ON/OFF switch next to the IEC mains input socket. To

turn the console off, press this switch again.

Connecting a backup supply

A socket is included for plugging in an optional backup power supply. This provides the

reassurance of power supply dual redundancy, a feature usually found only in expensive top

end consoles. The console uses diode combining technology so that both supplies can be

powered at the same time. One will automatically take over should the other stop working.

The recommended backup supply for the MixWizard is the Allen & Heath MPS12 power unit.

Refer to the user guide which comes with this supply.

Only plug the recommended Allen & Heath power unit into this socket. Do not

attempt to modify any other power unit to work with the console. Do not attempt to modify or

extend the DC power cable that comes with the supply.

The console can work with just the internal supply powered by mains, or just the backup

supply, or with both powered at the same time. To ensure uninterrupted performance in the

unlikely event of a failure, we recommended that both supplies are powered.

EXTERNAL DC IN

RECOMMENDED ALLEN&HEATH POWER SUPPLY

REFER TO USER GUIDE FOR DETAILS

Serial No.

WARNING: THIS APPARATUS MUST BE EARTHED

DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

RISK OF ELECTRIC SHOCK

CAUTION

DO NOT OPEN

ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

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

AC MAINS IN ~

FUSE

T630mA L 250V 20mm

OFF

ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED

10 WZ

16:2 and 12:2 User Guide

13 GRP 4+

12 AUX 1+

11 AUX 2+

10 AUX 3+

9 AUX 4+

8 AUX 5+

7 AUX 6+

6 PFL+

5 AFL+

4 nc

3 PFL DC

2 AFL DC

1 0V (PAFL)

GRP 4- 32

AUX 1- 31

AUX 2- 30

AUX 3- 29

AUX 4- 28

AUX 5- 27

AUX 6- 26

PFL- 25

AFL- 24

nc 23

nc 22

nc 21

nc 20

14 GRP 3+

15 GRP 2+

16 GRP 1+

17 R+

18 L+

19 0V (CHS)

GRP 3- 33

GRP 2- 34

GRP 1- 35

R- 36

L- 37

16:2 and 12:2 User Guide 13

The Console Connectors

MIC / LINE IN The channel PAD (LINE) switch selects either the MIC

XLR or the LINE TRS jack as the input source. The XLR is normalled

through the TRS jack. This means that the XLR can be used for

microphone or line level signals when nothing is plugged into the jack

socket. Both inputs are balanced but can be wired to work with

unbalanced signals when required.

WARNING: Do not connect unbalanced sources or cables to

the XLR input when 48V phantom power is selected. To avoid loud

clicks always turn the channel off by pressing MUTE when switching

+48V on or off, and when plugging or unplugging cables.

STEREO LINE IN The WZ

12:2 has six stereo inputs comprising four

channel inputs ST1,3 (unbalanced) and ST2,4 (balanced), and an

additional two stereo returns ST5 (balanced) and ST6 (unbalanced). The

16:2 has two stereo return inputs ST1 (balanced) and ST2

(unbalanced). All inputs use TRS jacks. Unbalanced inputs automatically

connect the TRS ring to ground for working with balanced sources. The L

input is normalled through the R input to accept mono signals.

Note that the ST5 (WZ

12:2) or ST1 (WZ

16:2) stereo return input mixes

with the internal effects processor return. This means that an external

effects device fed from a different aux mix can mix with the internal

processor to save input channels. Alternatively, you could turn the internal

unit off and use the ST5 (ST1) input with an external unit only if preferred.

INSERT A single 3-pole TRS jack carries the unbalanced insert signal.

Tip = send, Ring = return, Sleeve = common ground. The channel insert

is post-HPF, pre-EQ and operates at 0dBu. The LR mix insert is pre-fader

and operates at -2dBu. These should work fine with line level signal

processing equipment such as compressors, outboard EQ, delay units and

so on. An example of a suitable cable is shown here:

DIRECT OUTPUT The mic/line channel direct output is available on

an impedance balanced TRS jack. It is a line level signal operating at

0dBu. The source is set using an internal option jumper for each channel.

The factory default setting is pre-fade (following the pre/post-EQ setting).

This may be changed to post-fade if preferred.

The direct outputs provide a useful source for multitrack recording. Many

users prefer pre-fade sends for this application so that the live show fader

movements do not affect the recording which can be mixed later. Another

application is channel effects sends. For example, a reverb unit may be

dedicated to work with the lead vocalist channel only. Using a post-fade

direct output instead of an aux send frees up that aux mix for other

purposes.

- IN

+IN

INPUT

RING -INRING

TIP +INTIP

LINE

MIC

SINGLE

INTERNAL

AUX5

AUX6

EXTERNAL

EFFECT

DUAL

1-16

EFFECT

1-8

9-16

L/M

ST5

MIX

INSERT

RETURN

SEND

RING

TIP

14 WZ

16:2 and 12:2 User Guide

L, R, M OUT The main console mix outputs are on balanced XLR.

These produce +4dBu when the meters read ‘0’. The M output can be

switched to provide a mono sum of the post-fade L and R signals, or the

AUX6 output.

The L and R outputs typically feed the house PA system in live sound

mixing, or a 2-track recorder in studio mixing. In mono mode, the M output

can provide an additional feed for a mono fill speaker or zone, or be used

as the main feed into a mono PA. Used with a mono PA the L and R mix

can provide a pair of subgroups, each with routing using the channel PAN

controls, inserts and faders. Configured to provide the AUX6 mix, the M

output is ideal for driving a sub bass speaker system when working with

an ‘aux fed subs’ PA. This provides the sub feed with its own per-channel

mix on balanced XLR and with dedicated fader alongside the main LR

faders for proper control of the house volume.

AB OUT A pair of impedance balanced TRS jacks can be configured to

provide an additional LR mix or engineers monitor send. These operate at

-2dBu line level. A front panel recessed ‘mode’ switch determines the

source to the AB output. This may be set to follow the console monitor

system and therefore feed an independent local stereo monitor or even

engineers wedge speaker. When set to follow the LR mix, the factory

default source is taken post LR fader. An internal option jumper is

available to change this to pre LR fader.

The unique AB output feature provides the MixWizard with a host of

possibilities… independent 2-track recording feed, broadcast feed, zone

and delay fill feeds, local monitor, engineers wedge monitor and more.

AUX OUT 1-6 Each aux send is available on an impedance balanced

TRS jack operating at -2dBu line level. An internal option is available to fit

a balanced line driver IC to provide an electronically balanced output

operating at +4dBu. Note that it is not usual to require this option as the

impedance balanced standard drive provides significant interference

rejection when feeding balanced equipment inputs.

The aux sends are typically used to feed stage monitors, effects devices

such as reverb and delay, and for special mix requirements.

MIDI IN A standard 5-pin DIN MIDI input socket is provided. This is

used with external MIDI equipment or a MIDI equipped PC to control the

built-in effects processor mute, presets and parameters. Free software

can be downloaded from the Allen & Heath web site for PC editing of the

parameters via MIDI.

FOOTSWITCH Mutes and unmutes the ST5 (ST1) effects return

channel, ideal for bypassing the effects between songs. Note that this

affects the internal processor and also any external effects device that

may be plugged in to these return inputs. Use a momentary or latching

footswitch as required. Shorting a TS or TRS jack tip to sleeve turns the

mute on.

SYS-LINK II OPTION A blank plate is fitted here as standard. The

Sys-Link II option kit is available from Allen & Heath. Refer to OPTIONS

later in this guide.

16:2 and 12:2 User Guide 15

The MONO Input Channel

+48V Switches +48VDC to the channel input XLR for powering

microphones or DI boxes that need phantom power. The power is

current limited through 6k8 ohm resistors to pins 2 and 3.

WARNING: Do not connect unbalanced sources or cables

to inputs with phantom power selected. To avoid loud clicks

always mute the channel before switching +48V on or off and

when plugging or unplugging microphones.

PAD (LINE) Press this switch to select the channel TRS jack LINE

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.

HPF Switches in the channel high pass filter. This attenuates

frequencies below 80Hz by 12dB per octave. The filter is pre-insert,

pre-EQ. Select the HPF to reduce low frequency noise such as

microphone popping, stage noise and tape transport rumble.

EQ A 4-band semi parametric EQ provides independent control of

four frequency bands. HF and LF are shelving filters which affect high

frequencies above 12kHz, and low frequencies below 80Hz

respectively. HM and LM are bell shaped peak/dip filters which affect

frequencies around a centre point which can be swept from 500Hz to

15kHz and 35Hz to 1kHz respectively. These have a width (Q) of 1.8.

All bands can be boosted or cut by up to 15dB and have a centre

detent 0dB position.

Check for the best microphone selection and placement before using

the EQ. Start with the EQ set flat and apply only as much boost or cut

as is really needed. When dealing with problem frequencies cut rather

than boost where possible.

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

+20

+15

+10

0dB

-5

-10

-15

-20

20 50 100 200 500 1k 2k 5k 10k 20k

10k5k2k1k500200100502010

-40

-35

-30

-25

-20

-15

-10

-5

0dB

20k10k5k2k1k5002001005020

-20

-15

-10

-5

0dB

+10

+15

+20

+15

+10

0dB

-5

-10

-15

-20

20 50 100 200 500 1k 2k 5k 10k 20k

16 WZ

16:2 and 12:2 User Guide

AUX SENDS These rotary controls adjust how much channel

signal is mixed to the aux outputs. Each of the 6 auxes has its own

control. They adjusts from fully off to +6dB boost. Unity gain 0dB is

marked at 3 o’clock position. Factory default settings should satisfy

the most common applications:

AUX1, AUX2 = Pre-fade

AUX3, AUX4 = Switched pre/post using PRE swittch

AUX5, AUX6 = Post-fade

Pre-fade aux = Pre-INSERT, pre-EQ, post-MUTE

These settings may be changed if preferred by repositioning internal

jumper link options. They offer many different combinations of pre and

post-fade sends, and a post-EQ option for the pre-fade sends. The

PRE switch can be assigned to one, two or more of the sends. More

detail is provided in OPTIONS later in this guide.

Pre-fade aux sends are not affected by the channel fader movements.

These are typically used to feed stage monitors. In most cases users

also prefer that the monitor sends are not affected by inserted

processors or the channel EQ. Post-fade aux sends follow the channel

faders and are typically used to send a proportion of the channel signal

to an effects device such as reverb or delay. Pre or post-fade sends

may also be used for special applications such as recording, zone

feeds, clean feeds and aux fed subs.

PRE When pressed the pre-fade channel signal is sent to the

associated auxes. When released the post-fade signal is sent. Auxes

3 and 4 are affected by the PRE switch (factory default). You can

change this by repositioning the internal option jumpers.

PAN Positions the channel signal between L and R in the stereo

mix. The centre position (mono image) is detented for quick resetting.

MUTE When pressed the channel signal is turned off. This affects

the feed to the LR mix, pre and post-fade aux sends and direct output,

but does not affect the insert send. The red indicator lights when the

channel is muted.

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

headphones or AB monitor (if configured) without affecting the main

outputs. The console main LR meters are interrupted with the channel

signal. The red PK indicator half lights to show that PFL has been

selected on that channel. Selecting more than one PFL at the same

time mixes those signals together in the monitor.

PEAK The red indicator illuminates when the channel pre-fade

signal is within 5dB of clipping. This gives you enough warning to

reduce the GAIN control before you hear signal distortion.

SIGNAL The green signal presence indicator lights when the

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

FADER Controls the channel level feeding the main LR mix and

post-fade aux sends. It also affects the direct output if this has been

set to post-fade using the internal option jumpers. The fader provides

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

Important note on setting channel levels: Use PFL to set the GAIN

controls for correct signal level through each channel. Use the faders

to balance each signal in the mix. These are typically operated around

their -20 to 0 positions according to the mix. We do not

recommend

setting the faders to ‘0’ and mixing using the GAIN controls.

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

16:2 and 12:2 User Guide 17

The STEREO Input Channel ( WZ

12:2 only)

Dual stereo inputs Each of the two stereo channels has two

stereo inputs which can be used separately, mixed together or split so

that one feeds the channel, the other routes direct to LR. For example,

you could mix two sound effects playback devices or two reverb

returns together into one channel. This can be useful in saving

channels, letting you mix many inputs in a small space. The L input

signal normals through the R input socket so that a mono source may

be plugged in to feed both left and right sides of the stereo channel.

ST1, ST3 Unbalanced TRS inputs. The GAIN control adjusts from

fully off to +16dB gain. Press the ST1 (ST3) switch to turn the input

on.

Routing mode switch Recessed switch to prevent accidental

operation. In the normal up position the ST1 (ST3) signal mixes with

ST2 (ST4) into the stereo channel. When pressed the signal is routed

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

inputs as simple stereo returns in addition to the full stereo channels,

providing four independent stereo sources to the LR mix.

ST2, ST4 Balanced TRS inputs. The GAIN control adjusts from

fully off to +16dB gain. Press the ST2 (ST4) switch to turn the input

on. These inputs always feed the stereo channels.

EQ A 4-band fixed frequency EQ provides independent control of

four frequency bands. HF and LF are shelving filters which affect high

frequencies above 12kHz, and low frequencies below 80Hz

respectively. HM and LM are bell shaped peak/dip filters which affect

frequencies centred around 2.5kHz and 250Hz respectively. These

have a width (Q) of 1.8. All bands can be boosted or cut by up to 15dB

and have a centre detented 0dB position.

AUX SENDS These work as described for the mono channel. The

L and R sides of the stereo signal sum together to feed each aux in

mono. This can be changed using an internal jumper option so that L

feeds auxes 1,3 and R feeds auxes 2,4.

BAL Balances the level of the L signal against the R signal to

compensate for differences in the source signal, or to position the

signal within the stereo image. The centre equal level position is

detented for quick resetting.

MUTE When pressed the channel signal is turned off. This affects

the feed to the LR mix, and pre and post-fade aux sends. The red

indicator lights when the channel is muted.

PFL Press PFL to listen to the summed L+R pre-fade channel signal

in the headphones or AB monitor (if configured) without affecting the

main outputs. The console main LR meters are interrupted with the

channel signal. The red PK indicator half lights to show that PFL has

been selected on that channel.

PEAK The red indicator illuminates when the channel pre-fade

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.

SIG

+6OO

AUX

PRE

+6OO

PFL

MUTE

AUX

BAL

PK!

POST

11-12

(ST3+ST4)

+15

-15

-5

GAIN

-10

-20

-5

GAIN

-10

-20

18 WZ

16:2 and 12:2 User Guide

The STEREO Effects Processor

The MixWizard WZ

16:2 and WZ

12:2 features a built-in stereo digital effects processor.

This can be configured to work as a single effects engine fed from AUX5, or in dual mode as

two effects engines independently fed from AUX5 and AUX6. The processed signal is

routed back to the mix through the ST1 (ST5) stereo return channel. In dual mode the two

stereo effects mix together into the return channel.

The ST1 (ST5) TRS jack inputs mix with the internal effects processor through the return

channel. This allows you to have the internal and external effects devices returning their

processed signals through one return channel. In dual mode this gives you three stereo

signals mixing into one.

SINGLE FX mode With the recessed mode switch in its up position, AUX5 is used to

send the channel post-fade signals to the internal effects processor. One bank of 16 effects

presets is available.

PRESET 1-8 PRESET 9-16

# NAME EFFECT # NAME EFFECT

1 Stage 9 Karaoke

Stereo vocal echo effect

2 Room 10 Ping Pong

L-R repeat effect

3 Hall

Short Reverbs of

increasing length and

differing brightness

11 Chorus

Stereo chorus effect

4 Plate

Studio plate reverb

12 Slap + Rev

Slap delay with hall reverb

5 Chamber 13 Dly + Rev

Delay with hall reverb

6 Cathedral 14 Echo + Rev

Echo with plate reverb

7 Arena

Long reverbs for special

effects and simulation of

large spaces

15 Ch + Rev

Chorus with arena reverb

8 Gated Rev

Typical for snare drums

16 Ph + Rev

Phaser effect+plate reverb

DUAL FX mode With the recessed mode switch pressed, AUX5 and AUX6 are used to

send the channel post-fade signals to two independent internal effects processors. Each

has its own bank of 8 presets, AUX5 = 1-8, AUX6 = 9-16.

PRESET 1-8 (AUX5) PRESET 9-16 (AUX6)

# NAME EFFECT # NAME EFFECT

1 Stage 9 Stage

As effect #1

2 Room 10 Room

As effect #2

3 Hall 11 Hall

As effect #3

4 Plate 12 Slap Dly

100ms delay

5 Chamber 13 Delay

200ms stereo delay

6 Cathedral 14 Echo

Stereo echo

7 Arena 15 Chorus

Ideal for guitar chorus

8 Gated Rev

These effects are similar

to those in Single Mode

16 Phaser

Instrument/vocal phaser

FX OFF mode If preferred, the internal processor may be turned off letting you use

AUX5 / AUX6 and ST5 (ST1) with an external device only. This may be the case if you have

a favourite reverb or similar processor you prefer to use. The AUX5 and AUX6 sends are

always available from their connector panel TRS sockets. The ST5 (ST1) external input

TRS sockets can be used to return the external effect to the mix.

16:2 and 12:2 User Guide 19

The Stereo Effects Return Channel

AUX SENDS The combined effects signal can be returned to

Auxes 1 to 4. These sends are not affected by the ST1 (ST5) LEV

control which returns the signal to the LR mix. The stereo signal is

summed to feed the auxes in mono. This can be changed if preferred

by repositioning internal jumper options so that L feeds auxes 1,3, and

R feeds auxes 2,4. Use the aux sends to add the effects to the

monitors if required.

Selecting the effects preset Press SEL to scroll down

through the available effects. The green indicator lights to show which

effect is active. Press BANK to change between preset 1-8 and preset

9-16. The red indicator lights to show presets 9-16 are selected. In

dual mode BANK toggles between the AUX5 and AUX6 effects

processor selections. The default preset names are printed on the

front panel for reference.

Turning off the internal effects Once you have scrolled

through all 16 effects the green indicator turns off showing that the

internal processor is turned off. Select this mode if you want to work

with external effects only.

ST1 (ST5) LEV Returns the combined stereo effects to the main

LR mix. Adjust from fully off to +6dB maximum boost. Normal 3

0’clock 0dB operating position is marked on the panel.

MUTE Press this switch to mute the stereo return channel. This

turns off the feed to the LR mix and the auxes. The channel may also

be muted using a footswitch plugged into the rear of the console. The

red indicator lights when the channel is muted by the MUTE switch

and/or the footswitch. Note that the MUTE switch is latching. This

means the channel shall remain muted as long as the switch is in its

pressed position regardless of the footswitch.

MODE Recessed switch to prevent accidental operation. Situated

below the AUX6 master level control. Use a pen or sharp object to

change the setting. In the normal up position the processor is

configured as a SINGLE effects unit driven by AUX5. In the pressed

position the processor is configured as a DUAL effects unit driven by

AUX5 and AUX6.

Resetting the effects presets To restore the factory default

presets hold down the SEL key while powering up the console. Make

sure you do this while the amplifiers are turned off. The 8 green

indicators flash in sequence followed by the BANK indicator flashing on

then off to confirm the reset.

+6OO

AUX

+6OO

124

AUX

157

BANK

816

/ FX

+6OO

MUTE

ST5

LEV

PRE

+4OO

AUX

+4OO

AUX5 = 1-8

AUX5 = 1-16

AUX6 = 9-16

SINGLE FX

DUAL FX

AUX

FACTORY

PRESETS

ROOM

PLATE

HALL

STAGE

ARENA

GATED REV

CHAMBER

CATHEDRAL

CHORUS

PING PONG

SLAP+REV

PH+REV

CH+REV

DUAL

ECHO+REV

DLY+REV

KARAOKE

SINGLE

ROOM

HALL

PLATE

STAGE

ARENA

CATHEDRAL

GATED REV

CHAMBER

HALL

SLAP DLY

ROOM

ECHO

PHASER

CHORUS

DELAY

STAGE

ST5 / FX

SEL

SINGLE

INTERNAL

AUX5

AUX6

EXTERNAL

EFFECT

DUAL

1-16

EFFECT

1-8

9-16

L/M

ST5

MIX

20 WZ

16:2 and 12:2 User Guide

MIDI

A rear panel MIDI IN socket is provided. This lets you control the internal effects via MIDI.

For example, you could use a MIDI sequencer or controller to remotely change the preset

type or to mute the effect. MIDI is also used for editing the effects preset parameters using

Allen & Heath software running on a PC.

MIDI channel number The factory default is MIDI channel 1. To change to a different

channel hold down the BANK key while powering up the console. Make sure you do this

while the amplifiers are turned off. While still holding the BANK key, use the SEL key to

step through channels 1-16. After cycling through MIDI channels 1-16 the processor will

then turn all the indicators on then all off. Release both the BANK and SEL keys when the

required MIDI channel number is reached. The BANK indicator will flash twice to confirm

the selection has been made.

Using MIDI to change the effects preset

MIDI Program Change message CnH xxH n = MIDI channel number

xx = 00H to 0FH (preset 1 to 16)

Using MIDI to mute the effects return

MIDI Program Change message CnH xxH n = MIDI channel number

xx = 64H (muted)

xx = 65H (not muted)

Using MIDI to edit the effects parameters

The MixWizard FX Editor software can be downloaded free of charge from the Allen & Heath

web site. This program runs on a PC computer using the Windows 95, 98, ME, 2000 or XP

operating system. The PC needs a MIDI output port to be able to communicate with the

console. Check the instructions that come with your PC to see if it has a suitable port or if

you need to add a sound card with MIDI port, or use a game port to MIDI adaptor cable.

Install and run the FX Editor software on your PC. Connect the PC MIDI output to the

console MIDI input. Refer to the Help file that comes with the software for instructions on

configuring and using the software to edit the effects parameters.

The effects can be edited on-line so that you can hear the effect of your changes as you

adjust the parameters. Once you are happy with the results you can overwrite the selected

console presets with your edited effects. You can also archive your settings as a file stored

on the PC.

ROOM

HALL

STAGE KARAOKE

PING PONG

CHORUS

CHAMBER

ARENA

CATHEDRAL

GATED REV

CH+REV

PH+REV

DLY+REV

ECHO+REV

PLATE

SLAP+REV

2 01

3 02

1 00

5 04

7 06

6 05

8 07

4 03

09 10

0A 11

08 9

0C 13

0E 15

0D 14

0F 16

0B 12

HEX PROGRAM NUMBER

TYPES PARAMETERS

Stage Reverb Pre-Delay

Room Reverb Decay

Hall Reverb Damping

Plate Reverb Diffusion

Chamber Reverb Delay Course

Cathedral Reverb Delay Fine

Arena Reverb Repeats

Gated Reverb Feedback

Mono Delay 1 tap Speed

Stereo Delay 1 tap Depth

Mono Delay 2 tap Level

Stereo Delay 2 tap

Chorus EQUALISER

Flanger Lo cut/boost

Phaser Mid Frequency

Tremelo Mid cut/boost

Panner Hi cut/boost

Rotary Speaker

Pitch Shift NOISE GATE

Detuner Threshold

Karaoke Release

16:2 and 12:2 User Guide 21

The Master Section

AUX MASTERS

Each aux mix has a master level control that

adjusts the output level to match external equipment, or to trim the

monitor, effect or other send without affecting the mix balance. Up to

+4dB boost is available above the normal 0dB position.

Note that the AUX5 and AUX6 master controls do not affect the level

sent to the internal effects processor. They do affect the level

available at the rear panel aux output sockets.

LR FADER MASTERS Individual 100mm faders adjust the main

L-R mix level. They provide +10dB boost above the nominal ‘0’

position. For best performance the faders should be operated around

the ‘0’ position for normal ‘loud’ level. If you find yourself operating

significantly below ‘0’ then the amplifier or other destination equipment

is too sensitive for the console +4dBu output. Simply turn down the

amplifier or equipment level trim. If none is available then insert an

attenuator pad between the console and connected equipment.

Operating the faders well below ‘0’ may degrade the noise

performance of the equipment.

M FADER MASTER A recessed mode switch above the M fader

selects the fader source.

Mono master To use the M output as an L+R summed mono feed

then select the up position. The fader can become the master level

controller for a mono PA, mono fill or delay speaker, additional zone,

mono recording and so on.

Aux master To use the M output as the AUX6 master press the

switch using a pen or pointed object. Use the post-fade AUX6 channel

sends to mix the required signals to the M output. This provides a

main console output with its own mix bus. Typical applications include:

Dedicated MONO mix The output feeds a centre mono fill speaker

system, for example above the proscenium arch or along the front of

the stage in a theatre. You may wish to feed just a few of the sources

to these speakers, for example just the radio mic channels for front row

clarity. Using the aux send allows you to create the required mix

balance and have proper master fader control.

Aux fed subs This increasingly popular application drives the sub

bass speakers with their own mix. It lets you send only those sources

with wanted low frequency information to the sub speakers. It can

dramatically clean up the mix as non-bass channels such as vocals

and guitars are kept out of the subs and therefore do not allow low

frequency pickup to muddy the mix. It is typical to include only sources

such as kick drum, bass guitar, keyboards and sound effects to these

speakers.

The unique MixWizard aux mode feature puts the master control of the

sub mix on to a fader next to the main LR faders. This means that the

house volume can be controlled without upsetting the balance between

LR and sub speakers. The feed to the sub speaker system is on

balanced XLR, and it can be monitored by selecting the M switch in the

headphones monitor section.

AUX 1

AUX 2

AUX 4

AUX 5

AUX 3

1-2

PRE

+4OO

3-4

5-6

+4OO

AUX

ST5

ST6

ALL UP = LR

MONITOR

ALT LR OUT

+4OO

AUX5 = 1-8

AUX5 = 1-16

AUX6 = 9-16

SINGLE FX

DUAL FX

AUX

AUX 6

+10

AUX 6

L+R

OOOO

/ FX

AUX6

22 WZ

16:2 and 12:2 User Guide

AB OUTPUT This is an additional stereo output that can be

configured as a separately controlled mix output or a local loudspeaker

monitor send. A recessed mode switch above the AB level control

selects the source. Use a pen or pointed object to change the setting.

Adjust the output level from fully off to a maximum +10dB boost. The

normal 0dB position is marked on the panel.

With the mode switch in its up position, the LR mix is selected as the

source to the AB output TRS jacks. Factory default setting is post-LR

fader. If preferred you can change this to pre-LR fader by repositioning

internal option jumpers so that the LR master fader movements do not

affect the output. In LR mode the AB output provides an additional

main mix output ideal for independent fill speaker control, 2-track

recording or broadcast feed and so on.

With the mode switch pressed, the console monitor system is selected

as the source. You can use this to feed local monitor speakers to

listen to the source selected on the monitor switch bank interrupted by

PFL. Local speaker monitoring can be useful in theatre and stage

monitoring applications.

Console Monitor Comprehensive engineer’s headphones monitoring

is provided. Select the source to listen to using the monitor switch

bank. With no switch pressed the post-fade LR mix is monitored.

Press M to listen to the post-fade M source. Pressing any switch

higher up the bank overrides the previous selection. Pressing ST1

(ST5) listens to the wet effects only return signal if the internal effects

processor is active. Pressing Aux pairs 1-2, 3-4, 5-6 together listens to

the two selected auxes as a stereo pair. The two console meters

display the selected monitor source signal level.

Pressing channel PFL switches automatically overrides the current

monitor selection with the pre-fade signal from that channel or

selection of channels. The red PFL active indicator lights and the

console meters display the channel signal.

We recommend you use closed ear headphones in the range 30 to

600 ohms designed for live sound monitoring. Headphones around

100 ohms impedance are a popular choice.

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.

ST2 (ST6) RETURN This is a simple stereo return channel that

routes to the main LR mix. The typical application is to plug in a CD or

similar playback device for walk-in or background music. It can also be

used as an additional effects return. Adjust the volume using the LEV

control. Route the signal to LR by pressing the TO LR switch. The

green LED lights to warn that the source is routed to LR.

You can use the ST2 (ST6) input to monitor your 2-track recording.

Press the ST2 (ST6) monitor source select switch. Use the AB output

to feed your recorder. If you are monitoring while mixing live, make

sure you do not accidentally press the TO LR switch and route your

recording to the house speakers.

PHONES

TO LR

PHONES

AUX 1

AUX 2

AUX 4

AUX 5

AUX 3

-6

-9

-3

PFL

1-2

3-4

5-6

+16

-12

-16

-20

-30

ST5

ST6

ALL UP = LR

MONITOR

ALT LR OUT

AUX 6

+10OO

/ FX

16:2 and 12:2 User Guide 23

Gain Structure

How the levels between the different signal stages are set up is referred to as the

gain structure

. For best performance it is important that the connected source

signals are matched to the ‘normal operating level’ of the console. Similarly the

levels of the connected amplifiers and destination equipment should be correctly

matched to the console outputs. If set too high then the signal peaks will be

clipped resulting in distortion, and if set too low then the signal-to-noise

performance will be degraded resulting in excessive background hiss and noise.

Using the Meters The MixWizard provides metering of inputs and outputs.

For best results operate the console with the main meters averaging around ‘0’

allowing the loudest moments to reach ‘+6’. Reduce the channel gain settings if

the red peak indicators start to flash. Note that the peak indicators light 5dB

before actual clipping to warn that you are nearing distortion and should reduce

gain. The LED bar meters have a ‘quasi-peak’ response with fast attack and slow

release so that fast musical transients are accurately displayed.

Matching a Source to the Console Start by turning down the channel

fader and send levels to prevent unexpected loud volumes reaching the main

speakers and monitors. Using PFL, adjust the GAIN control for an average ‘0’

reading on the console meters. These automatically switch to show the channel

pre-fade signal when PFL is pressed. Listen to the signal using headphones or

local AB monitor. Once the channel gain is correctly set you can raise the levels

to bring the channel into the mix. Note that you may need to adjust the gain if you

make significant changes to the EQ. Make sure that any equipment inserted into

the channel is set to operate around 0dBu line level. First set the gain with

inserted signal processors such as compressors switched to bypass.

Matching the Console to Destination Equipment The console

produces a standard XLR output level of +4dBu for a meter reading of ‘0’. It can

produce a maximum of +26dBu which is more than is usually required and

therefore gives you plenty of headroom. If you are connecting to a sensitive

power amplifier it is advisable to turn down its input trim control if the normal

console level is too high. Simply turning down the console output faders

degrades the output stage noise performance and reduces the resolution of the

fader movement. The output faders are best operated around ‘-10’ to ‘0’ for

loudest average volume required. This allows additional headroom if you need it.

Terminology The normal operating level is the optimum signal level for best

console performance, indicated by ‘0’ meter readings and resulting in the +4dBu

XLR output level. The channels operate at 0dBu and the mix stages at –2dBu for

extended headroom. Headroom

is the extra level available above normal to allow

for loud peaks before the signal becomes clipped

resulting in audible distortion.

The signal-to-noise ratio

(SNR) is the difference measured in dB between normal

level and residual noise floor

(hiss) produced by the console electronics. The

dynamic range

is the sum of headroom and SNR representing the maximum

signal range possible from quietest to loudest.

Final word… A little care with setting gain structure throughout the signal

chain will give you the best performance and most manageable control of the mix.

24 WZ

16:2 and 12:2 User Guide

Specifications

Performance

Maximum output level XLR +26dBu into 600 ohms max load

Jack +21dBu into 2k ohm max load

Internal headroom Channels +21dB

Mix +23dB

Meters 3 colour LED, quasi peak response

Sensitivity 0VU = +4dBu at XLR output

Master meters 12 segment -30 to +16dB

Channel meters 2 segment -12, +16dB (5dB before clip)

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

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

Crosstalk at 1kHz Fader shutoff >90dB

Channel mute >100dB

Inter channel >90dB

Noise, rms 22Hz to 22kHz Mic EIN -128dB

Residual output noise < -95dBu (-99dB S/N)

LR unity fader mix noise < -83dBu (-87dB S/N)

Channel HPF 12dB/octave below 80Hz

Mono EQ HF Shelving, +/-15dB, 12kHz

HM Peak/dip, +/-15dB, 500Hz to 15kHz, Q=1.8

LM Peak/dip, +/-15dB, 35Hz to 1kHz, Q=1.8

LF Shelving, +/-15dB, 80Hz

Stereo EQ HF Shelving, +/-15dB, 12kHz

HM Peak/dip, +/-15dB, 2.5kHz, Q=1.8

LM Peak/dip, +/-15dB, 250Hz, Q=1.8

LF Shelving, +/-15dB, 80Hz

Power supply Internal 100-240V, 50/60Hz auto sensing, IEC input

External Input for optional MPS12 backup supply

Power consumption 35W max

Mains fuse T630mA L 20mm

Mechanical

Free standing dimensions W 507 (20”) x D 530 (20.9”) x H 194 (7.7”)

Rack mounted W 483 (19”) x D 122 (4.8”) x H 444 (17.5”) 10U

Underside connectors

Rack mounted W 483 (19”) x D 193 (7.6”) x H 497 (19.6”) 11.2U

Rear connectors

Weight 10kg (22lbs)

16:2 and 12:2 User Guide 25

Connections

Mono channel XLR balanced pin 2 hot Sensitivity -60 to +10dBu

TRS balanced, tip hot Sensitivity -40 to +10dBu

Pad out (MIC) 2k ohm

Pad in (MIC or LINE) >10k ohm, -20dB

Max input level +30dBu

XLR phantom power +48V, on/off

Stereo channel ST1,3 TRS unbalanced >10k ohm, -16 to +20dBu

ST2,4 TRS balanced >10k ohm, -16 to +20dBu

Stereo returns ST1(5) TRS balanced >10k ohm, -6 to +20dBu

ST2(6) TRS unbalanced >2k ohm, -2 to +20dBu

Inserts Channel TRS, tip send, ring return, 0dBu

Output TRS, tip send, ring return, -2dBu

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

Aux 1-6 output TRS impedance balanced <75 ohm, -2dBu, +21dBu max

Electronic balance option <75 ohm, +4dBu, +26dBu max

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

AB out TRS impedance balanced <75 ohm, -2dBu, +21dBu max

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

Lamp 4-pin XLR max 12V 5W lamp

MixWizard 3 Series Part Numbers

12:2 8 mic/line, 2 dual stereo, LR console W31202/v

16:2 16 mic/line LR console W31602/v

14:4:2 10 mic/line, 2 dual stereo, 4 group console W31442/v

12:2 and WZ

16:2 Sys-Link II output option kit W312/16-SLV2

14:4:2 Sys-Link II input/output option kit W31442-SLV2

SSM2142P balanced output driver option IC AE0302

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

Allen & Heath MPS12 backup power supply option MPS12/v

Allen & Heath 18” gooseneck LED lamp LEDLAMP

26 WZ

16:2 and 12:2 User Guide

A OUT

TIP= +

B OUT

JP1

SUM

MONO/STEREO AUX SOURCE

LKJI

HGJUMPER EF

P = PRE-FADE

S = SWITCHED

A = POST-FADE

GAIN

-20dB

LINE (PAD)

HPF

48V

MIC/LINE INPUTS

ST2 TO LR

SIG

MUTE

P S

A S

PRE

AUX1

AUX2

STEREO 1-2

MONITOR SELECT

AUX3

PFL MIX

PFL DC

AUX 1-6

PAN

AUX1-6 TO MONITOR

AUX MIX

MASTER

PFL

LEFT

RIGHT

MONITOR METERS

MONITOR

PFL

ACTIVE

LEV

HEADPHONES

+4dBu BAL OPTION

IMPEDANCE BALANCED

-2dBu

TIP= +

AUX OUT

MODE

AUX 6

AUX 5

9-16

SINGLE

EFFECT

DUAL

1-16

1-8

EFFECT

MIDI PARAMETER EDIT

FOOTSWITCH

AU X5,6 TO FX, AUX6 TO C

EFFECTS

FROM AUX5,6

BAL

+4dBu

L-R

MONITOR

LEV

A-B

-2dBu IMPEDANCE BALANCED

A-B

AUX SENDS 1-6

IMPEDANCE BALANCED

DIRECT OUT

WZ3 16:2

TIP= +

RING= -

0dBu

POST-EQ

PRE-INSERT, PRE-EQ

POST-FADE

PRE-FADE

AUX

4 BAND EQUALISER

PHANTOM POWER

PFL

FADER

ST2 IN

ST1 IN (EXT EFFECTS IN)

TO MONITOR

BALANCED 0dBu

L/M

SUM

AUX1

AUX2

MUTE

TO MONITOR

R MIX

FROM AUX6

L MIX

PRE-FADE

POST-FADE

ST1 (EFFECTS)

ST2

ALL UP= L-R

AUX4

AUX5

AUX6

STEREO 5-6

MONO SUM

AUX6

SUM

M FADER

L FADER

-2dBu

R FADER

+4dBu

M OUT

2 = +

BAL

+4dBu

LEFT OUT

RIGHT OUT

2 = +

L-R

BAL

STEREO 3-4

INSERT

UNBALANCED -2dBu

STEREO RETURN 2

STEREO RETURN 1

L/M

SYS-LINK CONNECTION

INSERT

0dBu

LINE

BALANCED

TIP= +

MIC

2= +

RING= RETURN

TIP= SEND

AUX3

AUX4

16:2

16:2 and 12:2 User Guide 27

B OUT

TIP= +

A OUT

A-B

-2dBu IMPEDANCE BALANCED

FEJUMPER GH

IJKL

CN4

BADCFEHGJ ILKJUMPER OPTIONS

P = PRE-FADE

S = SWITCHED

A = POST-FADE

MS MS

CN5

PRE-FADE POST-FADE

PRE

LRL

MONO/STEREO AUX SOURCE

JP1

A = POST-FADE

S = SWITCHED

P = PRE-FADE

0dBu

INSERT

AUX4

AUX3

FROM AUX5,6

EFFECTS

AUX5,6 TO FX, AUX6 TO C

FOOTSWITCH

MIDI PARAMETER EDIT

EFFECT

1-8

1-16

DUAL

EFFECT

SINGLE

9-16

AUX 5

AUX 6

MODE

RIGHT

LEFT

PFL

AUX MIX

PAN

AUX 1-6

PRE

MUTE

SUM

GAIN

4 BAND EQUALISER

FADER

L/M

INPUT ST2(4)

DUAL STEREO INPUTS

SIG

INPUT ST1(3)

L/M

PRE

MONO/STEREO AUX

SAA

P SPPS

AUX

PAN

MUTE

PFL

SIG

ST2 TO LR

MIC/LINE INPUTS

48V

HPF

LINE (PAD)

-20dB

GAIN

TIP= SEND

RING= RETURN

2= +

MIC

TIP= +BALANCED

LINE

SYS-LINK CONNECTION

AUX OUT

TIP= +

-2dBu

IMPEDANCE BALANCED

+4dBu BAL OPTION

HEADPHONES

LEV

ACTIVE

PFL

MONITOR

MONITOR METERS

MASTER

AUX1-6 TO MONITOR

PFL DC

PFL MIX

AUX3

MONITOR SELECT

STEREO 1-2

AUX2

AUX1

AUX SENDS 1-6

A-B

LEV

MONITOR

L-R

+4dBu

BAL

L-R

2 = +

RIGHT OUT

LEFT OUT

+4dBu

BAL

2 = +

M OUT

+4dBu

R FADER

-2dBu

L FADER

M FADER

SUM

AUX6

MONO SUM

STEREO 5-6

AUX6

AUX5

AUX4

ALL UP= L-R

ST6

ST5 (EFFECTS)

POST-FADE

L MIX

FROM AUX6

R MIX

INSERT

STEREO 3-4

STEREO RETURN

FADER

PFL

PHANTOM POWER

4 BAND EQUALISER

AUX

PRE-FADE

POST-FADE

PRE-INSERT, PRE-EQ

POST-EQ

0dBu

RING= -

TIP= +

WZ3 12:2

DIRECT OUT

IMPEDANCE BALANCED

TO MONITOR

MUTE

SUM

AUX2

AUX1

SUM

L/M

BALANCED 0dBu

TO MONITOR

ST6 IN (EXT EFFECTS IN)

ST6 IN

L/M

STEREO RETURN

UNBALANCED -2dBu

12:2

16:2 and 12:2 User Guide 33

Cue Sheet WZ

12:2

Copy and use this page to record your console settings.

SIG

+6OO

AUX

PRE

+6OO

PFL

MUTE

AUX

BAL

PK!

POST

SIG

POST

PK!

BAL

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

TO LR

11-12TO

(ST3+ST4)

+15

-15

(ST1+ST2)TO 9-10

LRTO

-15

+15

LAMP

PHONES

TO LR

+6OO

AUX

+6OO

LEV

124

ST6

AUX

PHONES

AUX 1

AUX 2

AUX 4

AUX 5

AUX 3

-6

-9

-3

157

BANK

816

PFL

/ FX

+6OO

MUTE

ST5

LEV

1-2

PRE

+4OO

3-4

5-6

+4OO

AUX

+16

-12

-16

-20

-30

ST5

ST6

ALL UP = LR

MONITOR

ALT LR OUT

+4OO

AUX5 = 1-8

AUX5 = 1-16

AUX6 = 9-16

SINGLE FX

DUAL FX

AUX

AUX 6

+10

AUX 6

L+R

FACTORY

PRESETS

ROOM

PLATE

HALL

STAGE

ARENA

GATED REV

CHAMBER

CATHEDRAL

CHORUS

PING PONG

SLAP+REV

PH+REV

CH+REV

DUAL

ECHO+REV

DLY+REV

KARAOKE

SINGLE

ROOM

HALL

PLATE

STAGE

ARENA

CATHEDRAL

GATED REV

CHAMBER

HALL

SLAP DLY

ROOM

ECHO

PHASER

CHORUS

DELAY

STAGE

OOOO

/ FX

AUX6

ST5 / FX

SEL

-5

GAIN

-10

-20

-5

GAIN

-10

-20

-5

GAIN

-10

-20

-5

GAIN

-10

-20

12:2

ALLEN&HEATH MixWizard WZ

-15

+15

180

35Hz

-15

400

250

+15

(LINE)

700

500Hz

-15

15k

+15

10- 10

GAIN

4060

HPF

+48V

PAD

SIG

+6OO

AUX

PRE

+6OO

PFL

MUTE

AUX

PAN

PK!

POST

POST POST

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

POST

PK!

PAN

AUX

MUTE

PFL

L R

OO +6

PRE

AUX

OO +6

SIG

PAD

+48V

HPF

60 40

GAIN

- 10 10

+15

15k

-15

500Hz

700

(LINE)

+15

250

400

-15

35Hz

180

+15

-15

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Allen-Heath MixWizard WZ3-12 Manual

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