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Allen-Heath WZ16 mixwizard Manual

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Publication No: AP3429
WZ16:2DX and WZ12:2DX User Guide AP3429 Issue 1. Copyright © 1998 Allen & Heath. All rights reserved
M
ANUFACTURED
I
N
E
NGLAND
A
LLEN
& H
EATH
A
GENT
:
ALLEN & HEATH
Kernick Industrial Estate
Penryn, Cornwall, TR10 9LU. UK
http://www.allen-heath.com
A DIVISION OF HARMAN INTERNATIONAL INDUSTRIES Ltd
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
C
ONDITIONS
O
F
W
ARRANTY
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.
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
3
IMPORTANT SAFETY INSTRUCTIONS
PLEASE READ THESE INSTRUCTIONS
ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR
WARNING: To reduce the risk of fire or electric shock do not expose this apparatus to rain or
moisture.
All the safety and operating instructions should be read before the appliance is operated.
x
RETAIN INSTRUCTIONS:
The safety and operating instructions should be retained for future reference.
x
HEED WARNINGS:
All warnings on the appliance and in the operating instructions should be adhered to.
x
FOLLOW INSTRUCTIONS:
All operation and user instructions should be followed.
x
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…)
x
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.
x
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.
x
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.
x
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.
x
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.
x
ATTACHMENTS / ACCESSORIES:
Only use attachments and /or accessories specified and approved by the
manufacturer.
x
CLEANING:
The appliance should only be cleaned as recommended by the manufacturer.
x
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.
x
OBJECT & LIQUID ENTRY:
Care should be taken so that objects do not fall and liquids are not spilled into the
enclosure through openings.
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
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
4
x
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.
x
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.
x
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:
WIRE COLOUR
TERMINAL
European USA/Canada
L
LIVE BROWN BLACK
N
NEUTRAL BLUE WHITE
E
EARTH GND GREEN & YELLOW GREEN
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:
x 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.
x The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N.
x 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.
WARNING: THIS APPLIANCE MUST BE EARTHED
Selecting the appropriate environment
Refer to the important safety instructions overleaf and in addition the following guidelines should be adhered to:
x
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.
x
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.
x
Avoid conditions of extreme humidity.
x
Avoid sources of shock and vibration.
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.
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
5
I
NTRODUCTION
The
WZ16:2DX
and
WZ12:2DX
continue ALLEN & HEATH’s commitment to high quality audio
mixing consoles, engineered to meet the exacting requirements of today’s audio business. They
bring you the latest in high performance technology and offer 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
WZ16:2DX
and
WZ12:2DX
. 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.
S
ERVICE AND
T
ECHNICAL
S
UPPORT
Under normal conditions the
WZ16:2DX
and
WZ12:2DX
do not require user maintenance or
internal calibration. In certain cases it may be necessary to reconfigure internal option links. This
and any service work required should be carried out by technically competent service or
engineering personnel.
We are able to offer further product support through our worldwide 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 audio matters. 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 connected
. To ensure your safety the mains earth is connected to the chassis through the
power lead. Do not remove this connection.
To avoid the risk of fire, replace the mains fuse only with the correct value and type as indicated in the
connector panel.
G
ENERAL
P
RECAUTIONS
Your
MixWizard
console 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.
T
RANSPORTING
T
HE
C
ONSOLE
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.
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
6
O
VERVIEW
The
WZ16:2DX
and
WZ12:2DX
offer the professional user uncompromised features and
performance for live sound engineering and recording. Built on the established tradition of
innovative British design and manufacture you get a console that is both solidly reliable for a hard
life on the road, and uniquely versatile to adapt to any audio mixing application. The
WZ16:2DX
and
WZ12:2DX
are equally at home mixing alongside top end live sound consoles such as the
ALLEN & HEATH
GL4000
, in theatres, houses of worship, conference and club installations, home
and recording studios, or multi-tasking in equipment hire companies. Check out the key features:
WZ16:2DX WZ12:2DX
16 mono inputs for microphone or line sources 8 mono inputs for microphone or line sources
2 dual stereo line inputs for effects or stereo
sources
2 stereo return inputs for effects and replay
With separate level to L-R and to Aux 1 for the monitor.
L-R main output
Balanced XLRs with inserts and individual 100mm faders.
Extra A-B output
For additional L-R stereo or L+R mono output selectable pre or post L-R faders. Unique underpanel
mode switch to configure A-B as a local monitor output for additional stereo or mono monitoring.
Engineers monitoring independent of the main outputs
Stereo headphones output with auto PFL indicated by a large red LED
Monitor switchbank with priority override to select each Aux, Stereo return or L-R (pre or post fader).
Auxes can be listened to in stereo pairs.
QCC Quick Change Connector system
Simply hinge the connector pod into position for 19"rack or desk operation.
MSP Minimum Signal Path for audio transparancy
Carefully designed circuitry to keep the signal path from input to output short using high grade, low noise
discrete and IC components.
Rugged all metal construction
Individual circuit assemblies with all rotaries securely bolted to the panel.
No nonsense solid build to ensure on the road reliability.
Mono Input features:
x Wide 70dB gain range for loud and soft sources.
x Balanced XLR and jack both accept mic or line signals.
x +48V phantom power switchable to the XLR inputs.
x 4-band EQ with 2 mid frequency sweeps.
x 100Hz lo-cut filter to remove mic popping and stage rumble.
x Channel inserts for plugging in signal processors.
x Channel direct outputs for multitrack recording.
x 6 Aux sends with up to 6dB boost, for 2 pre-fade monitor sends, 2 switched pre or post-fade for
monitors or effects, and 2 post-fade for effects sends, recording or broadcast.
x Peak LED indicator to warn of signal overload.
x 100mm long travel faders for smooth control.
Stereo Input features
(WZ12:2DX only)
:
x Separate A (RCA phonos) & B (jacks) stereo line inputs, each with individual input trim and on/off
switches
x 4 band EQ
x 6 aux sends
x 100mm faders
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
7
F
RONT
P
ANEL
L
AYOUT
- WZ12:2DX
5
A DIVISION OF HARMAN INTERNATIONAL INDUSTRIES Ltd.
SEND
Made in t he UK by ALLEN & HEATH
MONO OUTPUT ( PRE OR POST FADER)
+
EFFECT
EFFECT
EFFECT S
+
ALT. L-R OUTPUT (PRE OR POST FADER)
EXT. INPUT
AUX5
AUX6
SINGLE
9-16
DUAL
1-16
L/M
EFFECT
ST1
R
1-8
B
STEREO MONI TOR OUTPUT
USE A- B OUTPUT FOR:
OUT
A
RETURN
L
R
-
-
MIX
ST1
R
6
AUX AUX
OUT P U T S
OUT
INSERT
R
INSERT
OUT
L
0L[:L]DUG
SENDS
ST2
/MONO
LR
4
AUX
R
AUX
3
ST1
/MONO
L
AUX
2
R
AUX
1
';
:=
45=5
SERIAL No:
INPUT
- OUT
IMPEDANCE BALANCED
SEND
RETURN
INSERT
XLR OUT
IN/OUT
LINE
1
3
RIN GRIN G
TIPTIP
RING -
TI P +TIP
RIN G
+OUT
2
2
8
DI R
OUT
7
MIDI
EFFECTS
IN
DI R
OUT
1
3
- IN
+IN
RING -INRING
TI P + I NTIP
DIR
OUT
6
IN
STEREO INPUTS
11-12
L
L /
B
IN
M
R
A
IN
L
L /
B
IN
M
R
9-10
A
7
INSERT
8
IN
8
INSERT
7
IN
6
IN
6
INSERT
REFER TO USER GUI DE BEFORE CONNECTING SUPPL Y.
REFER SERVI CING TO QUALIFI ED SERVICE PERSONNEL.
ON
SUPPLY VOLTAGE RANGE:
47-63Hz ~ 30W MAX
WARNING - THIS APPARATUS MUST BE EARTHED.
ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
OUT
4
CAUTION
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
DIR
WARNING: FOR CONTINUED PROTECTION AGAINST RI SK OF FIRE
REPLACE FUSE WITH SAME TYPE AND RATING
100 - 240V~ T500mA 250V 20mm
5
DI R
OUT
FUSE
3
DI R
OUT
AC MAINS IN ~
NO USER SERVICEABL E PARTS INSI DE.
DIR
OUT
2
100 - 240V
OFF
~
1
OUT
DI R
IN
INSERT
4
MIC/ LINE INPUTS
5
IN
INSERT
54
IN
3
INSERT
3
IN
INSERT
2
2
1
IN
INSERT
1
STEREO RETURN STEREO RETURN
FOOTSWI TCH
EFFECTS
20
30
10
5
5
0
10
OO
0L[:L]DUG
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
PFL
L
!
ON
R
PAN
PRE
POST
C
1
2
3
4
5
6
7
8
14
15
16
11
12
13
9
10
16
1
8
12
15
14
13
11
10
9
4
5
7
6
1
3
2
14
16
15
13
12
11
10
5
6
7
8
9
2
3
4
GATED REV
STAGE
PLATE
ARENA
CATHEDRAL
CHAMBER
STAGE
HALL
ROOM
ROOM
HALL
SLAP DLY
DELAY
ECHO
CHORUS
PHASER
DUAL
SINGLE
STAGE
ROOM
HALL
PLATE
CHAMBER
CATHEDRAL
ARENA
GATED REV
KARAOKE
PING PONG
CHORUS
SLAP+ REV
DLY+ REV
ECHO+ REV
CH+ REV
PH+ REV
SELECT
MONO
RL
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
POWER ON
48V ON
PHANTOM
OO
0
+6OO
0
+6
O +6
0
O
O +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+10OO
2
8
0
1
01
9
4
3 7
5
6
0
L- R
1
AUX
2
AUX
1
AUX
L- R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
45=5
:=
';
FACTORY
PRESETS
BANK
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAI N
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
OO
O
O
O
O
OO
POST
OO
PRE
OO
AUX
6
AUX
4
5
AUX
AUX
3
AUX
2
AUX
1
+6
+6
0
PRE
0
+6
POST
0
+6
0
+6
0
+6
0
AUX
+6OO
POST
AUX
6
OO
0
+6
4
AUX
5
OO
AUX
AUX
3
OO
2
OO
PRE
0
0
POST
+6
0
+6
0
+6
AUX
1
OO
PRE
0
+6
1515
20-10
-10 20
GAI N
-5
5
0
10
0
-5
GAI N
10
5
GAI N
-5
5
0
10
15
20-10 -10 20
-5
GAI N
15
10
0
5
MONO MONO
12kHz12kHz
+15
+15
+15
+15
60Hz
LF
-15
-15
0
-15
MF2
0
-15
MF1
0
0
LF
60Hz
-15
-15
+15
+15
0
0
MF2
-15
MF1
-15
+15
+15
HF
00
HF
ON
!
PEAK
!
PEAK
ON
DUAL
STEREO
DUAL
STEREO
BAL
C
LR LR
C
BAL
OO
30
20
10
10
30
OO
10
20
10
ON
ON ON
ALL UP = L- R
EFFECTS
ALT L- R OUT
MONO OUT
SINGLE
DUAL
AUX5 = 1- 16
AUX5 = 1- 8
AUX6 = 9- 16
EFFECT S MODE
00000000
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
OO
5
20
30
10
10
0
5
OO
5
20
30
10
10
0
5
With effects by
PFL PFL PFL PFL PFL PFL PFL
PFL PFL
ON
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
8
F
RONT
P
ANEL
L
AYOUT
- WZ16:2DX
SINGLE
DUAL
SELECT
MONO
20
30
5
10
0
5
R
10
L
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
MONO OUT
ALT L-R OUT
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
POWER ON
48V ON
PHANTOM
OO
OO
0
+6OO
0
+6
O +6
0
O
O +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+4OO
+4OO
+10OO
2
8
0
1
01
9
4
3
7
5
6
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
L-R
1
AUX
2
AUX
1
AUX
L-R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
FAC TORY
PR ES ETS
EFFECTS
ALL UP = L-R
EFFECTS
PHASER
CHORUS
ECHO
DELAY13
14
15
16
SLAP DLY
HALL
ROOM
STAGE9
10
11
12
STAGE1
CATHEDRAL
ARENA
GATED REV
6
7
8
ROOM
HAL L
CHAM BER
PLATE
2
3
5
4
DUAL
PH+ REV
CH+ REV15
16
ECH O+ REV
DLY+ REV
SLAP+ REV
CHORUS11
12
13
14
PING PONG
KARAOKE
GATED REV
ARENA
9
8
7
10
ROOM
2
CATHEDRAL
CHAM BER
PLATE
HAL L
4
3
6
5
STAGE
SINGLE
1
BANK
10
9
13
12
11
16
15
14
6
8
7
5
4
3
2
1
AUX5 = 1-16
AUX5 = 1-8
AUX6 = 9-16
MODE
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
PFL PFL PFL PFL PFL PFL PFL PFL PFL
000000000
With effects by
:=
49=5
';
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
9
R
EAR
P
ANEL
L
AYOUT
– WZ16:2DX
S
PECIFICATIONS
:
0 dBu = 0.775 Volts rms 0 dBV = 1 Volt rms
Max O/P Level
L-R +27dBu into 600ohm max load
Other o/p’s +21dBu into 2k ohm max load
Internal headroom
Mix to o/p +23dB
Channels +21dB
Peak LEDs
5dB before clipping
Noise
- measured rms 22Hz to 22kHz
Mic EIN ref 150 ohm source -128dB
L-R residual <-90dBu (-94dB S/N)
L-R mix <-84dBu (-88dB S/N)
Frequency response
20Hz to 50kHz +0/-1dB
THD
- +14dbu, 1kHz
Channel to mix o/p
<0.008%
Crosstalk
– 1kHz
Channel fader down <-90dB
Channel off <-90dB
Mains Power
Internal 100V to 240V
AC@50/60Hz switched mode
PSU with autosensing
Power consumption 30W max
Mains fuse rating
100-120V AC use T315mA 20mm
220-240V AC use T630mA 20mm
Mechanical specifications
Dimensions (mm) Width Height Depth
Desk mounted 483 195 530
Rack mounted 483 (19”) 444 (10U) 135
Packed 590 260
Unpacked Packed
Weight
10kg 13kg
C
ONNECTIONS
C
ONNECTOR
T
YPE
B
AL
/U
NBAL
I
MPEDANCE
L
EVEL
I
NPUTS
XLR Balanced
Mono IN
TRS Jack Balanced
Pad out – 2k ohm
Pad in - >10k ohm
-60 to –20dBu
-30 to +10dBu
TRS Jack Unbalanced >10k ohm -20 to +10dBu
Stereo IN
RCA phono Unbalanced >10k ohm -20 to +10dBu
Stereo Return IN TRS jack Balanced >10k ohm -10dBV (+4dBu option)
I
NSERTS
Channel Inserts TRS jack Unbalanced <75 ohm, >10k ohm 0dBu
LR insert TRS jack Unbalanced <75 ohm, >10k ohm -2dBu
O
UTPUTS
LR XLR Bal <75 ohm +4dBu
AB TRS jack Impedance balanced <75 ohm -2dBu (+4dBu bal option)
Auxes TRS jack Impedance balanced <75 ohm -2dBu (+4dBu bal option)
Direct TRS jack Impedance balanced <75 ohm 0dBu
Headphones TRS jack Tip L, Ring R
Note
Balanced XLR’s – Pin 2 hot, Pin 3 cold
Balanced jacks – Tip hot, ring cold
INPUT
MIC/LINE INPUTS
9
INSERT
Made i n the UK by ALLEN & HEATH
DUAL
1-16
EFFECT
L/M
INSERT
16
AUX5
AUX6
OUT
SEND
R
B
EXT. INPUT
SINGLE
OUT
ST1
DIR
OUT
16
R
L
L
INSERT
16
IN
R
R
/MONO/MONO
L
STEREO RETURN
RL
A DIVISI ON OF HARMAN INTERNATIONAL INDUSTRIES Ltd.
EFFECT
EFFECT
9-16
EFFECTS
1-8
0L[:L]DUG
:=
IMPEDANCE BALANCED
INSERT
IN/OUT
RETURN
LINE
SEND
49=5
';
TIPTI P +
RIN G -RING
TIPTIP
RINGRING
AUX
INSERT
RETURN
DIR
OUT
14
14
IN
OUT
DIR
15
A
R
+
+
-
-
AUX
6
MIX
ST1
L
15
INSERT
IN
15
ST2
AUX
5
AUX
4
DIR
13
OUT
14
13
IN
INSERT
13
ST1
AUX
3
DIR
12
OUT
AUX
2
OUT
DIR
11
12
IN
12
INSERT
11
IN
INSERT
11
1
SENDS
1
XLR OUT
OUT
10
DIR
+OUT
- OUT
3
2
2
EFFEC T S
IN
MIDI
DIR
OUT
9
10
IN
INSERT
10
9
IN
NO USER S ERVICEA BLE P ARTS I NSI DE.
REFER SERVICI NG TO QUALI FIED SERVICE PERSONNEL.
WARNING - THIS APPARATUS MUST BE EARTHED.
REFER TO USER GUI DE BEFORE CONNECTI NG SUPPLY.
RING -INRING
CAUTION
AC MAINS IN ~
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE
100 - 240V~ T500mA 250V 20mm
REPLACE FUSE WITH SAME TYPE AND RATING
AVI S: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
SERIAL No:
FUSE
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
OUT
DIR
OUT
INSERT
1
3
- IN
+IN
DI R
8
OUT
TI P + I NTIP
7
INSERT
8
IN
7
IN
8
OUT
DIR
6
6
INSERT
IN
76
DIR
5
DIR
4
OUT
5
IN
5
INSERT
4
IN
INSERT
4
OUT
DIR
3
DIR
OUT
2
3
IN
INSERT
3
2
IN
INSERT
2
100 - 240V
~
47-63Hz ~ 30W MAX
OFF ON
SUPPLY VOLTAGE RANGE:
OUT
DIR
1
1
INSERT
1
IN
STEREO RETURN
FOOTSWI TCH
EFFEC TS
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
10
I
NSTALLING THE
C
ONSOLE
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
PRECAUTION :
Do not transport or carry the
console with the locking screws
removed.
Do not attempt to remove the
connector pod from the console.
19” R
ACK
M
OUNTING
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.
F
LIGHTCASING
The console can be easily
flightcased in either
connector mode. Provide
the dimensions shown here
to your flightcase supplier.
D
ESKTOP
O
PERATION
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.
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
11
NO USER SERVICEABLE PARTS INSIDE.
SUPPLY VOLTAGE RANGE:
100 - 240V
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
47-63Hz ~ 30W MAX
WARNING - THIS APPARATUS MUST BE EARTHED.
REFER TO USER GUIDE BEFORE CONNECTING SUPPLY
TO REDUCE THE RI SK OF FI RE OR ELECTRI C SHOCK
DO NOT EXPOSE THI S APPARATUS TO RAIN OR MOISTURE.
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
REPLACE FUSE WITH SAME TYPE AND RATING
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE
ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
100 - 240V~ T500mA 250V 20mm
CAUTION
FUSE
OF F
AC MAINS IN ~
ON
~
Connecting Mains Power
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.
E
ARTHING
The connection to earth (ground) in an audio system is important for two reasons:
1.
SAFETY
- To protect the operator from high voltage shock associated with the AC mains supply
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 please observe the following:
x
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.
x
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.
x
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.
x
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.
x
Use professional quality cables and connectors
and check for correct wiring and reliable
solder joints.
x
If you are not sure ...
Have your system checked by a competent engineer, or contact your
local Allen & Heath agent for advice.
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
12
P
LUGGING
U
P
T
HE
S
YSTEM
The
Mix Wizard
series uses professional grade 3-pin XLR, 1/4" TRS jack and RCA PHONO
sockets. The applications diagrams on page 26 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.
C
ONNECTOR
P
INOUTS
C
ONNECTORS
, C
ABLES AND
T
HEORY
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
jack
connectors are 3-wire impedance balanced. These have 3 connector
pins: tip = 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 multi-
microphone 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.
D
EALING WITH
G
ROUND
L
OOPS
, B
UZZ AND
I
NTERFERENCE
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.
C
ONNECTING
C
HANNEL
I
NPUTS
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.
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P
LUGGING
U
P
T
HE
S
YSTEM
(
CONT
’
D
)
C
ONNECTING
C
HANNEL
I
NPUTS
(
CONT
’
D
)
C
ONNECTING TO
C
HANNEL
I
NSERTS
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.
C
HANNEL
D
IRECT
O
UTPUTS
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 M
AIN
O
UTPUTS
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.
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P
LUGGING UP THE
O
UTPUTS
LR Mix Inserts
Use these sockets if you wish to insert external signal processing equipment into the L-R mix post-
mix amp and pre-L-R fader. This lets you check the effect of the inserted equipment using the
console headphones or local monitor. For live sound it is common to insert graphic equalisers to
adjust for the room acoustics. In recording you could plug in a compressor to prevent unexpected
peaks overloading the recording. Use a suitable stereo jack lead or Y-adaptor for tip = send, ring =
return.
LR Main Outputs
These outputs are 3-wire balanced XLR operating at a nominal +4dBu to drive professional
equipment over long cable runs without interference pickup. You can, however, connect to 2-
wire unbalanced equipment inputs by linking signal - (cold) to ground (XLR pin3 to pin1).
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.
Stage Monitor and Cue Sends
Set up a pre-fade aux mix to
send a monitor or cue mix to the
performers. The aux outputs
are 3-wire impedance balanced
for interference rejection when
plugged into balanced
equipment inputs. You could
insert a graphic EQ between the
output and the amplifier for
monitor feedback control
Effects Send and Return
Set up a post-fade aux mix to send
channel signals to an external effects
device such as reverb or delay.
Return the processed signal to the mix
by plugging the device output into ST1
or ST2 stereo return, or into a 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
determines how much effect is added
to the signal.
2-Track Replay
Plug your 2-track recorder into a
stereo return to monitor your
recording, or for replay over the PA.
The return can also be used for
intermission replay from a CD player
or similar.
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M
ONO
I
NPUT
C
HANNEL
PAD
- Attenuates the input signal by 30dB. Affects both the XLR and jack inputs. Press this
switch when the input signal is too high even 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). Use the PFL function 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. Can be used to
clean up sounds that do not have much bass content such as vocals.
EQUALISER
- This provides separate, simultaneous control of 4 frequency bands. Each band
may be boosted or cut by up to +/- 15dB. The centre flat position is detented for quick resetting.
The
HF and LF
bands have a shelving response which means that all frequencies beyond 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
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 using the SWEEP controls. 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 that can
result in feedback.
AUXILLIARY SENDS
- You can set up to 6 separately balanced mixes using the aux send
controls. Up to +6dB of boost is available.
Aux 1 and 2
are set pre-fader for
monitor sends
such as stage monitors, backstage, orchestra pit,
and musicians recording cue. The amount of channel signal in the monitor mix is independent of
the fader level. Pre-fade sends are post-EQ, post-ON as standard (can be reconfigured pre-EQ or
pre-ON by setting internal links).
Aux 3 and 4
are switched pre or post fader for more monitors, effects or separately balanced feeds
for
recording and broadcast
.
Aux 5 and 6
are set post-fader for sends to external
effects
devices such as reverb and delay. The
amount of signal sent to the effects device follows the fader level and ON switch. The processed
(“wet”) signal returned to the mix through the aux return inputs is therefore in proportion to the direct
(“dry”) signal from the fader to the mix.
PAN
- Positions the channel signal between L and R in the stereo mix. The centre position (mono
image) is detented for quick resetting.
ON
- This turns the channel signal on or off.
PEAK
- The red LED lights when the signal is within 5dB of clipping. Should this occur turn back
the GAIN control to reduce the signal level.
PFL
- Press PFL 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 bar meters. The PEAK LED half lights
to show which channel PFL has been selected.
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GA I N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
5
0
PFL
0
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S
TEREO
I
NPUT CHANNEL
–
WZ12:2DX
ONLY
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 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 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.
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.
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 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.
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 = 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.
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 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.
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.
3
DUAL
ST EREO
30
OO
20
10
10
+6OO
L
ODD
BAL
R
EVEN
ON
O
AUX
6
O
0
PRE
+6
POST
+6OO
AUX
5
0
PRE
POST
4
AUX
OO
0
0
+6
0
O
O
AUX
2
AUX
O
O
0
+6
+6
AUX
1
EQ
IN
0
0
LF
60Hz
-15
-15
+15
+15
0
MF1
MF2
-15 +15
-5
0
12kHz
HF
-15
MONO
+15
-10
15
ON
20
20
-10
0
GA I N
ON
5
10
0
GA I N
-5
5
10
15
PEAK
!
PFL
0
5
3-4
1-2
L-R
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S
TEREO
R
ETURNS
Two stereo return inputs
ST1
and
ST2
are provided giving you a total of 20 inputs to
the L-R mix on the WZ16:2DX, or 16 inputs on the WZ12:2DX. These may be used
for returning the processed signal from the effects devices, monitoring and replaying
your 2-track recording, expander or submix inputs, or for stereo intermission replay.
AUX1/2 LEV
- Sends the return signal (L and R combined into mono) to the Aux1
or Aux2 mix independent of the level to the main mix. This lets you feed effects to
the performers monitor. When using the return for 2-track replay you can replay
the recording to the performers cue. Up to +6dB boost is available.
L-R LEV
- Adjusts the return signal level to the L-R mix.
Note that the internal effects processor is also brought back into the mix via the ST1
Aux and LR controls.
M
ASTERS
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 recording level
without affecting the mix balance. Up to +4dB of boost is available above the
nominal ‘0’ position.
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.
M
ONITOR
PFL
- A large red LED lights when any channel PFL switch is pressed. The PFL
signal overrides any selected monitor source.
MONITOR SWITCHBANK
- 8 switches select which source you listen to on the
headphones and view on the L,R meters. These are Auxes1-6 and returns ST1and
ST2 in stereo. Priority works from the top of the switchbank down as follows: PFL
interrupts Aux, interrupts ST1, interrupts ST2.
For example, you can select all up to monitor your LR mix, then press ST1 to
interrupt L-R with your 2-track replay, then press an Aux to check a monitor.
Pressing any PFL always takes priority.
Auxes can be monitored in mono or as combined stereo pairs. For example, press
Aux1 for mono, press Aux1 and Aux2 together to monitor Aux1-2 as a stereo pair.
Pressing Aux3 overrides the Aux1-2 monitoring, and so on. This is most useful
when you set up stereo cue or recording sends.
SI NGLE
DUAL
SELECT
MONO
20
30
5
10
0
5
R
10
L
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
MONO OUT
ALT L-R OUT
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
POWER ON
48V ON
PHANTOM
OO
OO
0
+6OO
0
+6
O +6
0
OO +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+4OO
+4OO
+10OO
2
8
0
1
01
9
4
3
7
5
6
0
L-R
1
AUX
2
AUX
1
AUX
L-R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
EFFECT S
ALL UP = L-R
EFFECTS
BANK
10
9
13
12
11
16
15
14
6
8
7
5
4
3
2
1
AUX5 = 1-16
AUX5 = 1-8
AUX6 = 9-16
MODE
With effects by
:=
49=5
';
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A-B O
UTPUT
The A-B output is an additional stereo/mono output that can be uniquely
configured as either a
separately controllable mix
output, or a
local
loudspeaker monitor
feed.
MODE SWITCH
- This switch is recessed under the panel to prevent
accidental operation. It is operated using a pen tip or similar pointed object.
In the normal up position A-B follows the main L-R mix. When pressed A-B
follows the monitor switchbank + PFL to become a ‘local’ monitor in addition to
the headphones.
POST/PRE
- This recessed switch selects whether the L-R signal fed to A-B
is sourced pre or post the L-R faders.
LEVEL
- Adjust the output level using this control. Up to +10dB of boost is
available above the nominal ‘0’ position.
MONO
- Sums L+R into mono. When A-B is configured as an additional mix
output the MONO switch provides a mono output ideal for centre fill or sub-
bass loudspeaker systems, or mono recording and broadcast feeds. When A-
B is configured as a local monitor the MONO switch lets you check the mono
compatibility of the selected mono source. Alternatively you can feed a local
mono speaker monitor such as an engineers listen wedge.
Here are a few applications of the versatile A-B output:
SI NGLE
DUAL
SELECT
MONO
20
30
5
10
0
5
R
10
L
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
MONO OUT
ALT L-R OUT
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
POWER ON
48V ON
PHANTOM
OO
OO
0
+6OO
0
+6
O +6
0
OO +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+4OO
+4OO
+10OO
2
8
0
1
01
9
4
3
7
5
6
0
L-R
1
AUX
2
AUX
1
AUX
L-R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
EFFECT S
ALL UP = L-R
EFFECTS
BANK
10
9
13
12
11
16
15
14
6
8
7
5
4
3
2
1
AUX5 = 1-16
AUX5 = 1-8
AUX6 = 9-16
MODE
With effects by
:=
49=5
';
L-R stereo live recording / broadcast
mode = up, set pre-fade
level trim to match recorder, L and R out
Mono live recording / broadcast
mode = up, set pre-fade, mono selected
level trim to match recorder, 2x M out
Additional L-R zone speakers
mode = up, set pre or post fade
level trim to balance speakers, L and R out
L-R delay fill speakers
mode = up, set post-fade
level trim to balance to main, L and R out
Mono centre fill speaker
mode = up, set post-fade, mono selected
level trim to balance to main, 2x M out
Sub-bass speaker
mode = up, set post-fade, mono selected
level trim to balance to main, 2x M out
Local stereo speaker monitor
mode = down
separate monitor level, L and R out
Local floor listen wedge monitor
mode = down, mono selected
separate monitor level, 2x M out
A-B
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D
IGITAL
S
TEREO
E
FFECTS
The WZ12:2DX and WZ16:2DX are provided with a built-in stereo digital effects
processor. This can be configured as a single dual stereo effect (eg reverb +
echo) fed from aux 5 or as two independent stereo effects fed respectively from
aux 5 and aux 6.
In both single and dual modes, the processed signal is routed internally to the
ST1 stereo return, as shown below. This connection is
after
the ST1 input
connectors, so external signal processing can also be patched into this input if
required. The processed signals can then be routed to the LR, Aux 1and/or Aux
2 mixes using the stereo return facilities. Note that Aux 5 and 6 sends are
always available on their respective connectors. The OFF mode for the internal
effects is provided to enable external effects loops to be created if required.
As each mode has 16
different effects programs
available, this gives you the
potential for 32 different
programs.
Note that the parameters of
these 32 sounds can be
changed via the MIDI socket
according to user
requirements. Further information is provided on the following pages.
SINGLE/DUAL Mode Switch – Up position selects single mode and down
position selects dual mode. Under-panel latching switch prevents accidental
activation or de-selection during performances.
S
INGLE
M
ODE
In this mode, the effects processor acts as a single dual stereo effects processor
fed from the aux 5 mix (after the aux 5 master level control). The choice of 16
effects programs is as follows:
PROGRAM 1-8 PROGRAM 9-16
# NAME EFFECT # NAME EFFECT
1 Stage 9 Karaoke
Stereo Vocal Echo Effect
2 Room 10 Ping Pong
L-R repeat effect
3Hall
Short Reverbs of increasing length and
differing brightness
11 Chorus
Stereo chorus effect
4Plate
Typical 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
Special reverb typical for snare drums
16 Ph + Rev
Phaser effect with plate reverb
SELECT – This switch is used to select which of the 16 programs, or OFF, is active. The processor steps
through programs 1-8 then 9-16 (indicated by the illumination of the BANK LED) and then OFF, which is
indicated by all 8 program LEDs being turned off.
BANK – This switch and associated LED select programs 1-8 or 9-16.
SINGLE
DUAL
SELECT
MONO
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
MONO OUT
ALT L-R OUT
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
OO
0
+6OO
0
+6
O +6
0
O
O +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+4OO
+4OO
+10OO
2
8
0
1
01
9
4
3
7
5
6
0
L-R
1
AUX
2
AUX
1
AUX
L-R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
FA CT ORY
PR ESET S
EFFECT S
ALL UP = L-R
EFFECTS
PHASER
CHORUS
ECHO
DELAY13
14
15
16
SLAP DLY
HALL
ROOM
STAGE9
10
11
12
STAGE1
CATHEDRAL
ARENA
GATED REV
6
7
8
ROOM
HALL
CHA MB ER
PL ATE
2
3
5
4
DUAL
PH+ REV
CH+ REV15
16
ECHO+ REV
DLY+ REV
SLAP+ REV
CHORUS
11
12
13
14
PING PONG
KARAOKE
GATED REV
ARENA
9
8
7
10
ROOM2
CATHEDRAL
CHA MB ER
PL ATE
HALL
4
3
6
5
STAGE
SINGLE
1
BANK
10
9
13
12
11
16
15
146
8
7
5
4
3
2
1
AUX5 = 1-16
AUX5 = 1-8
AUX6 = 9-16
MODE
SEND
+
+
EFFECT
EFFECT
DUAL
AUX6
9-16
EXT. INPUT
AUX5
SINGLE
ST1
1-16
EFFECT
R
1-8
L/M
R
L
RETURN
-
-
MIX
ST1
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D
UAL
M
ODE
The effects processor provides two independent stereo effects programs. The first from Aux 5 and the second
from Aux 6.
The effects programs available to Aux 5 correspond to programs 1-8 in the following list and those available to
Aux 6 are described in programs 9-16 below:
PROGRAM 1-8 PROGRAM 9-16
# 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
SELECT – This switch is used, in conjunction with the LED column, to choose the effects programs on auxes 5
and 6 in turn. For each aux, the select switch steps through the eight programs and then OFF before cycling
back to the first program of the eight.
BANK – This switch and associated LED selects the aux 5 effect or the aux 6 effect.
MIDI F
UNCTIONS
The MIDI in socket provides the capability for selecting between FX programs via MIDI. MIDI program change
numbers 0 to 15 correspond to effects programs 1 to 16.
MIDI Channel Change
- The MIDI channel of the mixer may be selected by holding down the BANK key on
power up. Whilst continuing to hold the BANK key, use the SELECT key to step through channels 1-16. The
FX1-8 LEDs will light in sequence to indicate MIDI channels, then the BANK LED will light in conjunction with
these to show 9-16. After cycling through MIDI channels 1 to 16, the processor will then turn all channels on
and then all off. Release both BANK and SELECT keys when the required MIDI status is selected. The BANK
LED will flash twice to confirm channel change.
The factory default is channel 1.
RESET -
Holding down the SELECT key during power up performs a hard RESET. The 8 FX program LEDs
will flash in sequence followed by the BANK LED flashing off then on.
This restores the effects programs to the
factory default settings.
RESTORE
– Hold down the BANK and SELECT keys while powering up the mixer. The 1-8 program LEDs will
flash in sequence followed by the BANK led flashing twice to confirm the operation.
This restores the MIDI
channel and effects programs to the factory default settings.
W
IZARD
FX’
S
S
YSTEM
MIDI S
PECIFICATION
P
ROGRAM
C
HANGE
C
ONTROL
C
HANGE
CC N
UMBER
1-16 FX Select in single FX mode
1-8 FX A Select in dual FX mode
9-16 FX B Select in dual FX mode
100 FX bypass
101 Exit FX bypass
110 Single FX mode
111 Dual FX mode
112 Wizard front panel disable
113 Wizard front panel enable
16-19 FX1 Param 1-4
20-23 FX2 Param 1-4
24-27 EQ Param 1-4
28-29 NG Param 1-2
31 FX Type
48, 01 Store FX Settings (send twice to confirm store)
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FX parameter changing:
The FX presets may be edited via the MIDI connector. The following parameters may be adjusted on each of the FX processors as shown:
Parameters
FX1 Processor FX2 Processor
1 2 3 4 1 234
MIDI Control
Change No
CC#16 CC#17 CC#18 CC#19 CC#20 CC#21 CC#22 CC#23
No Name FX Type Name and
units
Default
Value
Range Name and
units
Default
Value
Range Name and
units
Default
Value
Range Name
and units
Default
Value
Range FX Type Name and
units
Default
Value
Range Name and
units
Default
Value
Range Name and
units
Default
Value
Range Name and
units
Default
Value
Range
1
Stage St Pre-dly ms 15 0-99 Decay 8 1-10 Damping 9 1-10 Level 90 0-99
2
Room Ro Pre-dly ms 5 0-99 Decay 8 1-10 Damping 5 1-10 Level 90 0-99
3
Hall HA Pre-dly ms 35 0-99 Decay 7 1-10 Damping 8 1-10 Level 80 0-99
4
Plate PL Pre-dly ms 0 0-99 Decay 5 1-10 Damping 3 1-10 Level 80 0-99
5
Chamber Ch Pre-dly ms 30 0-99 Decay 9 1-10 Damping 8 1-10 Level 70 0-99
6
Cathedral CA Pre-dly ms 65 0-99 Decay 8 1-10 Damping 7 1-10 Level 70 0-99
7
Arena Ar Pre-dly ms 80 0-99 Decay 5 1-10 Damping 10 1-10 Level 70 0-99
8
Gated Rev GA Pre-dly ms 0 0-99 Decay 7 1-10 Diffusion 8 1-10 Level 90 0-99
9
Karaoke D4 Delay 4 1-5 N/A - - Repeats 10 1-10 Level 80 0-99
10
Ping Pong D3 Delay s 1.5 0.1-2 Delay ms 0 0-99 Feedback 20 0-99% Level 90 0-99
11
Chorus CH Speed 6 0-99 Depth 40 0-40 Delay ms 40 0-40 Level 90 0-99
12
Slap+Rev D1 Delay s 0.1 0.1-2 Delay ms 20 0-99 Feedback 0 0-99% Level 90 0-99 HA Pre-dly ms 35 0-99 Decay 9 1-10 Damping 7 1-10 Level 20 0-99
13
Dly+Rev D3 Delay s 0.2 0.1-2 Delay ms 70 0-99 Feedback 20 0-99% Level 90 0-99 HA Pre-dly ms 35 0-99 Decay 8 1-10 Damping 4 1-10 Level 30 0-99
14
Echo+Rev D3 Delay s 0.6 0.1-2 Delay ms 0 0-99 Feedback 20 0-99% Level 50 0-99 PL Pre-dly ms 40 0-99 Decay 10 1-10 Damping 2 1-10 Level 20 0-99
15
Ch+Rev CH Speed 30 0-99 Depth 15 0-40 Delay ms 10 0-40 Level 80 0-99 Ar Pre-dly ms 65 0-99 Decay 2 1-10 Damping 7 1-10 Level 15 0-99
16
Ph+Rev PH Speed 30 0-99 Depth 90 0-99 Feedback 70 0-97% Level 90 0-99 PL Pre-dly ms 30 0-99 Decay 5 1-10 Damping 9 1-10 Level 20 0-99
1
Stage St Pre-dly ms 15 0-99 Decay 8 1-10 Damping 9 1-10 Level 99 0-99
2
Room Ro Pre-dly ms 5 0-99 Decay 8 1-10 Damping 5 1-10 Level 99 0-99
3
Hall HA Pre-dly ms 35 0-99 Decay 7 1-10 Damping 8 1-10 Level 99 0-99
4
Plate PL Pre-dly ms 0 0-99 Decay 5 1-10 Damping 3 1-10 Level 99 0-99
5
Chamber Ch Pre-dly ms 30 0-99 Decay 9 1-10 Damping 8 1-10 Level 99 0-99
6
Cathedral CA Pre-dly ms 65 0-99 Decay 8 1-10 Damping 7 1-10 Level 99 0-99
7
Arena Ar Pre-dly ms 80 0-99 Decay 5 1-10 Damping 10 1-10 Level 99 0-99
8
Gated Rev GA Pre-dly ms 0 0-99 Decay 7 1-10 Diffusion 8 1-10 Level 99 0-99
9
Stage St Pre-dly ms 15 0-99 Decay 8 1-10 Damping 9 1-10 Level 99 0-99
10
Room Ro Pre-dly ms 5 0-99 Decay 8 1-10 Damping 5 1-10 Level 99 0-99
11
Hall HA Pre-dly ms 35 0-99 Decay 7 1-10 Damping 8 1-10 Level 99 0-99
12
Slap Delay D1 Delay s 0.1 0.1-2 Delay ms 20 0-99 Feedback 0 0-99% Level 99 0-99
13
Delay D3 Delay s 0.2 0.1-2 Delay ms 70 0-99 Feedback 20 0-99% Level 99 0-99
14
Echo D4 Delay time 4 1-5 N/A - - Repeats 10 1-10 Level 99 0-99
15
Chorus CH Speed 30 0-99 Depth 15 0-40 Delay ms 10 0-40 Level 99 0-99
16
Phaser PH Speed 30 0-99 Depth 90 0-99 Feedback 70 0-97% Level 99 0-99
Note that the range values shown need to be converted to the 0-127 MIDI equivalent.
Example:
To change the feedback parameter on the Phaser effect. First select the phaser effect on the WZ mixer. The MIDI string should then be generated as follows;
B
n
,16,xx Where Bn defines the string as a control change instruction and n=channel voice message. 16 is CC#22 in hexadecimal and xx is the new value in the range 0-127.
S I N G L E M O D E
D U A L M O D E
Key to FX types:
CH – Chorus
FL – Flange
PH – Phaser
Tr – Tremolo
Pn – Panner
RS – Rotary speaker
PS – Pitch shift
Dn – Detuner
D1 – Mono delay
D2 – Stereo delay
D3 – Ping Pong
D4 – Karaoke
St – Stage
Ro – Room
HA – Hall
PL – Plate
Ch – Chamber
CA – Cathedral
Ar – Arena
GA – Gated
RE – Reverse
Rg – Ring Modulator
Co – Compressor
Cd – Vocoder
D1 – Mono delay
D2 – Stereo delay
D3 – Ping Pong
D4 - Karaoke
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FX Type Selection via MIDI
Note that the 32 FX program types may be changed using MIDI Control Change No 31 as follows:
Parameters
1234FX
Type
Description H or W
type*
ID
Code
Name Range Name Range Name Range Name Range
CH Chorus H 12 Speed 0-99 Depth 0-40 Delay 0-40ms Level 0-99
FL Flanger H 14 Speed 0-99 Depth 0-40 Feedback 0-97% Level 0-99
PH Phaser H 16 Speed 0-99 Depth 0-40 Feedback 0-97% Level 0-99
Tr Tremelo H 18 Speed 0-99 Depth 0-40 N/A - Level 0-99
Pn Panner H 20 Speed 0-99 Depth 0-40 N/A - Level 0-99
RS Rotary Spkr W 24 Speed 0-99 Type 6 variants X-over freq Level 0-99
PS Pitch Shift H 34 Shift -12 to +24 Tracking 1-3 N/A - Level 0-99
Dn Detuner H 36 Detune -12 to +12 N/A - N/A - Level 0-99
St Stage W 84 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
St Stage H 66 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
Ro Room W 86 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
Ro Room H 68 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
HA Hall W 88 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
HA Hall H 70 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
PL Plate W 90 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
PL Plate H 72 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
Ch Chamber W 92 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
Ch Chamber H 74 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
CA Cathedral W 94 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
CA Cathedral H 76 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
Ar Arena W 96 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
Ar Arena H 78 Predelay 0-99ms Decay 1-10 Damping 1-10 Level 0-99
GA Gated H 62 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99
GA Gated W 80 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99
RE Reverse H 64 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99
RE Reverse W 82 Predelay 0-99ms Decay 1-10 Diffusion 1-10 Level 0-99
Rg Ring Modulator H 22 Frequency 1-99 N/A - N/A - Level 0-99
Co Compressor H 8 Threshold 60-0 Ratio 1-19, inf Attack 1-10 Gain -19 to +20
Cd Vocoder W 26 Sibilance 0-99 Type 1-5 N/A - Level 0-99
Cd Vocoder 3 W 32 Sibilance 0-99 Type 1-5 N/A - Level 0-99
D1 Mono Delay (1 tap) H 46 Delay coarse 0.1-2.0 Delay fine 0-99ms Feedback 0-99% Level 0-99
D2 Stereo Delay (1 tap) H 48 Delay course 0.1-2.0 Delay fine 0-99ms Feedback 0-99% Level 0-99
D1 Mono Delay (2 taps) H 50 Delay course 0.1-2.0 Delay fine 0-99ms Feedback 0-99% Level 0-99
D1 Mono Delay (1 tap) W 52 Delay course 0.1-2.0 Delay fine 0-99ms Feedback 0-99% Level 0-99
D2 Stereo Delay (1 tap) W 54 Delay course 0.1-2.0 Delay fine 0-99ms Feedback 0-99% Level 0-99
D2 Mono Delay (2 taps) W 56 Delay course 0.1-2.0 Delay fine 0-99ms Feedback 0-99% Level 0-99
D1 Karaoke H 58 Delay time 1-5 N/A - Repeats 1-10 Level 0-99
* W effects can only be used in single effect mode, H effects can be used in both single and dual modes.
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C
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S
HEET
WZ16:2DX
Copy and use this page to record mixer settings
SINGLE
DUAL
SELECT
20
30
10
5
5
0
10
OO
MONO
20
30
5
10
0
5
R
10
L
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
MONO OUT
ALT L-R OUT
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
POWER ON
48V ON
PHANTOM
OO
OO
0
+6OO
0
+6
O +6
0
OO +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+4OO
+4OO
+10OO
2
8
0
1
01
9
4
3 7
5
6
0L[:L]DUG
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
PFL
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
20
30
10
10
OO
PAD
20- 10
30
60
40
-30dB
PAD
GAI N
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
L
!
ON
R
PAN
PRE
POST
C
L-R
1
AUX
2
AUX
1
AUX
L-R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
FACT ORY
PRES ETS
EFFECTS
ALL UP = L-R
EFFECTS
PHASER
CHORU S
ECHO
DELAY13
14
15
16
SLAP DLY
HALL
ROOM
STAGE9
10
11
12
STAGE1
CAT HED RAL
ARENA
GATED REV
6
7
8
ROOM
HALL
CHA M BER
PLATE
2
3
5
4
DUAL
PH+ REV
CH+ REV15
16
ECHO+ REV
DLY+ REV
SLAP+ REV
CHORU S11
12
13
14
PING PONG
KARAOKE
GATED REV
ARENA
9
8
7
10
ROOM2
CAT HED RAL
CHA M BER
PLATE
HALL
4
3
6
5
STAGE
SINGLE
1
BANK
10
9
13
12
11
16
15
14
6
8
7
5
4
3
2
1
AUX5 = 1-16
AUX5 = 1- 8
AUX6 = 9-16
MODE
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL
0000000000000000
:=
49=5
';
Notes:
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
25
C
UE
S
HEET
WZ12:2DX
Copy and use this page to record mixer settings
20
30
10
5
5
0
10
OO
0L[:L]DUG
PAD
20- 10
30
60
40
-30dB
PAD
GAIN
30
50
180Hz
MF1
MF2
60Hz
LF
-15
-15
45
35Hz
60
-15
HF
1k
500Hz
700
12kHz
-15
0
+15
0
+15
0
1kHz
300
+15
0
3kHz
7k
5k
15kHz
+15
100Hz
AUX
OO
6
AUX
OO
5
OO
OO
4
AUX
OO
3
AUX
OO
2
AUX
1
AUX
0
0
+6
0
+6
+6
POST
PRE
0
0
+6
+6
0
+6
PEAK
PFL
L
!
ON
R
PAN
PRE
POST
C
1
2
3
4
5
6
7
8
14
15
16
11
12
13
9
10
16
1
8
12
15
14
13
11
10
9
4
5
7
6
1
3
2
14
16
15
13
12
11
10
5
6
7
8
9
2
3
4
GATED REV
STAGE
PLATE
ARENA
CATHEDRAL
CHAMBER
STAGE
HALL
ROOM
ROOM
HALL
SLAP DLY
DELA Y
ECH O
CHORUS
PHASER
DUAL
SINGLE
STAGE
ROOM
HAL L
PLATE
CHAMBER
CAT HEDRAL
ARENA
GATED REV
KARAOKE
PING PONG
CHORUS
SLAP+ REV
DLY+ REV
ECH O+ REV
CH+ REV
PH+ REV
SELECT
MONO
RL
5-6
6
3-4
4
3
5
1-2
2
1
LOCAL MONITOR
+3
+6
+9
-16
-20
-12
-9
-6
-3
-30
LR
PFL
LEV
0
+16
POWER ON
48V ON
PHANTOM
OO
0
+6OO
0
+6
O +6
0
O
O +6
0
O
OO
0
+6
0
+4OO
0
+4OO
0
+4OO
0
+4OO
0
+4OO
0
+4OO
+10OO
2
8
0
1
01
9
4
3
7
5
6
0
L-R
1
AUX
2
AUX
1
AUX
L-R
POST
PRE
AUX
6
AUX
5
POST
4
AUX
3
AUX
2
AUX
1
AUX
PRE
45=5
:=
';
FAC T ORY
PRESETS
BANK
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
PAD
0
O
O +6
PRE
O
AUX
2
O
AUX
1
0
+6
0
MF1
MF2
LF
60Hz
-15
-15
+15
+15
0
60
35Hz
45
-15
300
1kHz
0
+15
180Hz
0
HF
500Hz
700
1k
-15
12kHz
3kHz
15kHz
5k
7k
+15
30
20
PAD
- 10
GAIN
100Hz
30
60
50
-30dB
40
10
PEAK
L
!
R
ON
0
AUX
POST
O
PAN
6
O
C
+6
0
O
O
AUX
5
O
O
+6
0
PRE
POST
+6
O
AUX
4
O
AUX
3
0
+6
OO
20
30
10
OO
O
OO
O
OO
POST
OO
PRE
OO
AUX
6
AUX
4
5
AUX
AUX
3
AUX
2
AUX
1
+6
+6
0
PRE
0
+6
POST
0
+6
0
+6
0
+6
0
AUX
+6OO
POST
AUX
6
OO
0
+6
4
AUX
5
OO
AUX
AUX
3
OO
2
OO
PRE
0
0
POST
+6
0
+6
0
+6
AUX
1
OO
PRE
0
+6
1515
20-10
-10 20
GA I N
-5
5
0
10
0
-5
GA I N
10
5
GA I N
-5
5
0
10
15
20-10 -10 20
-5
GA I N
15
10
0
5
MONO MONO
12kHz12kHz
+15
+15
+15
+15
60Hz
LF
-15
-15
0
-15
MF2
0
-15
MF1
0
0
LF
60Hz
-15
-15
+15
+15
0
0
MF2
-15
MF1
-15
+15
+15
HF
00
HF
ON
!
PEAK
!
PEAK
ON
DUAL
STEREO
DUAL
STEREO
BAL
C
LR LR
C
BAL
OO
30
20
10
10
30
OO
10
20
10
ON
ON ON
ALL UP = L-R
EFFEC TS
ALT L-R OUT
MONO OUT
SINGLE
DUAL
AUX5 = 1- 16
AUX5 = 1- 8
AUX6 = 9- 16
EFFECTS MODE
00000000
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
5
0
5
OO
5
20
30
10
10
0
5
OO
5
20
30
10
10
0
5
PFL PFL PFL PFL PFL PFL PFL
PFL PFL
ON
Notes:
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
26
Applications Examples
House of Worship:
x Music FOH system driven from LR mix
x Congregation PA with delays fed from AB
x Aux sends 1-4 give musicians/choir monitors
x Aux sends 5/6 used as internal FX sends
x ST2 used as a tape relay input
x Engineer checks using headphone output
Stage Monitor:
x 4 Floor wedges from auxes 1-4
x Stereo in-ear monitor mix from LR
x Engineers listen wedge from AB output
x Engineer speaker similar to musicians
x Monitor switches check on-stage sound
x Aux 5 and 6 used as internal FX sends
x FX routed to monitors via ST1
x Note up to 6 floor monitors possible
Small Theatre:
x Main FOH fed from LR mix
x Auditorium speakers fed from AB
x AB mix delayed to improve clarity
x Intermission CD replay input through ST2
x Stage and pit monitors from Aux 1-2
x 2 track recording from Aux 3-4
x Internal FX loop use Aux 5-6
x Engineer monitors using headphone mix
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
27
O
PTIONS
The
MixWizard Series WZ16:2 and WZ12:2DX
have a versatile architecture designed to satisfy
most live sound or recording applications you may encounter without modification. However, the
following internal options are offered to provide alternative settings for those applications that 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
SERVICE MANUAL
.
P
HANTOM
P
OWER
D
ISABLE
It is perfectly safe to connect non-phantom powered sources such as dynamic microphones to
powered XLR sockets providing that balanced leads and sources are used. The +48V supply is
current limited through 6.8k ohm resistors to each XLR to prevent damage. However, you can
disable phantom power to selected channels by cutting out links on the rear connector circuit
assembly. This work should be referred to your service agent.
ST1, ST2 I
NPUT
S
ENSITIVITY
The stereo return inputs are set for nominal low level -10dBV operation as is common with much of
the external equipment available today. The console level controls let you adjust for varying input
levels. Most outboard equipment include output level trims. If, however, you wish to change the
sensitivity to high level +4dBu the rear connector circuit can be reconfigured. This work should be
referred to your service agent.
A
UX
O
UT AND
A-B O
UT
B
ALANCE
O
PTION
These outputs are impedance balanced on TRS jack to provide interference rejection when
plugged into equipment with balanced inputs. It should not normally be necessary to fit the
electronic balance option available. This option also increases the output level to a nominal
+4dBu. Refer this work to your service agent.
C
HANNEL
P
RE
-F
ADE
A
UX
S
END
O
PTIONS
The pre-fade sends are set post-EQ and post-ON as standard. However, link options on each
channel assembly allow pre-EQ and/or pre-ON if required. This is shown in the diagram below.
C
HANNEL
D
IRECT
O
UTPUT
S
OURCE
The direct outputs are sourced post-fader as standard. A link option is available per channel to
select a pre-fade source. This is shown in the diagram below.
WZ16:2DX
AND
WZ12:2DX U
SER
G
UIDE
28
L
L FADER
MONO
AUX SENDS 1-6
R MIX
INSERT
-2dBu
45=5
TIP= +
TIP= +
-10dBV
0L[:L]DUG
+
-
+ 4dBu OPTION
+
-
L-R
AUX2
TO MONITOR
AUX1
L MIX
INSERT
POST
PRE
-2dBu
L-R
MONITOR
A-B
LEV
PFL MIX
MONITOR SELECT
EFFECT
AUX2
AUX3
AUX4
AUX5
AUX6
ST1 (EFFECTS)
ST2
STEREO 3-4
STEREO 5-6
ALL UP= L-R
AUX1
STEREO 1-2
PFL
ACTIVE
AUX MIX
MASTER
TO MONITOR
RIGHT
LEFT
AUX 1-6
PFL
RIGHT OUT
R FADER
BAL
2 = +
+4dBu
TIP= +
TIP= +
B OUT
LEFT OUT
-2dBu
BAL
2 = +
L-R
+ 4dBu BAL OPTION
A-B
+4dBu
HEADPHONES
A OUT
L
R
LEV
MONITOR METERS
MONITOR
R
TIP= +
AUX OUT
+ 4dBu BAL OPTION
R
L/MONO
BALANCED
TIP= +
BALANCED
0dBu
DIRECT OUT
RING= -
0dBu
TIP= +
INSERT
RING= RETURN
TIP= SEND
PRE-FADE
LF
MF2
MIC/LINE INPUTS
INPUT
DISABLE
2= +
PAD
-30dBu
+
-
GAIN
FILTER
-
LO-CUT
MF1
HF
4 BAND EQUALISER
POST-ON
PRE-ON
PRE-EQ
POST-EQ
FADER
PFL
ON
PEAK
PAN
POST-FADE
AUX 1 2
PRE
34
POST
56
PHANTOM + 48V ON
RIAA OPTION
DUAL STEREO INPUTS
R
R
L/MONO
INPUT A
L/MONO
INPUT B
4 BAND EQUALISER
ON
ON
GAIN
GAIN
LF
MF1
HF
MF2
MONO
PRE-ON
PRE-EQ
PRE-EQ
POST-EQ
POST-EQ
PEAK
POST-ON
POST-ON
PRE-ON
MONO
PFL
PAN
MONO
FADER
ON
5
AUX 1 2
POST
3
PRE
4
6
(WZ12:2 ONLY)
-
-
ON
BALANCED + 4dBu OPTION
TIP= +
-10dBV
TIP= +
-
+
-
+
-
-
TO MONITOR
L-R
AUX1
+
+
FROM EFFECTS
STEREO RETURN 1 (EFFECTS)
STEREO RETURN 2
1-16
EFFECT
1-8
9-16
EFFECT
+
AUX 5
AUX 6
MODE
SINGLE
DUAL
TO STEREO RETURN 1
R
L
EFFECTS
PFL DC
IMPEDANCE BALANCED
ST1 INPUT
L/MONO
R
ST2 INPUT
MONO
IMPEDANCE BALANCED
-2dBu
IMPEDANCE BALANCED
';
DQG#49=5
';
MONO
PRE POST
POSTPRE
… 15 …


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