Allen & Heath iDR Sys-Net Control Protocol

Version 1.00, 13/11/2002

Introduction
This protocol is for use with iDR units loaded with Version 3 software (i.e.V3.XX). The Remote Controllers will be able to control the following functions: Channel Levels Channel Mutes Cross-point Routing Matrix Levels Patch Recalls

Physical Interface

The Sys-Net protocol uses the 9-way female D-Type connector on the rear of the iDR Unit. The physical interface uses RX/TX & GND no handshake lines are required. Pin 5 Function TX RX Ground

Serial Port Settings

Baud rate is 19200, 8-bit data with no parity, 1 stop bit.
iDR Sys-Net Control Protocol.doc

Page 1 of 4

Control Protocol

Patch Change

To recall patches 0xC0, <Patch Number> Where <Patch Number> is in the range 0x00 to 0x62 (i.e. 0 to 98 decimal, referencing patches 1 to 99) When a Patch is recall via another method (e.g. Soft-Key, Remote Key) the following is transmitted from the Sys-Net 0xC0, <Patch Number> Where <Patch Number> is in the range 0x00 to 0x62 (i.e. 0 to 98 decimal, referencing patches 1 to 99)

Input Channel Levels

To control the input channel level 0xB0, 0x63, <Input Channel Number>, 0x62, 0x17, 0x06, <Level> Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). And where <Level> is in the range 0x00 to 0x7F (0 to 127 decimal 0 is channel off, and 127 is 5dB maximum). When an input channel level is changed via another method (e.g. Soft-Key, Remote Key, Patch Recall) the following is transmitted from the Sys-Net 0xB0, 0x63, <Input Channel Number>, 0x62, 0x17, 0x06, <Level> Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). And where <Level> is in the range 0x00 to 0x7F (0 to 127 decimal 0 is channel off, and 127 is 5dB maximum).

Output Channel Levels

To control the output channel level 0xB0, 0x63, <Output Channel Number>, 0x62, 0x1B, 0x06, <Level> Where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). And where <Level> is in the range 0x00 to 0x7F (0 to 127 decimal 0 is channel off, and 127 is 5dB maximum). When an output channel level is changed via another method (e.g. Soft-Key, Remote Key, Patch Recall) the following is transmitted from the Sys-Net 0xB0, 0x63, <Output Channel Number>, 0x62, 0x1B, 0x06, <Level> Where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). And where <Level> is in the range 0x00 to 0x7F (0 to 127 decimal 0 is channel off, and 127 is 5dB maximum).

Page 2 of 4

Input Channel Mutes
To turn an input mute on 0x90, <Input Channel Number>, 0x7F Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). To turn an input mute off 0x90, <Input Channel Number>, 0x01 Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). When an input channel mute state is changed via another method (e.g. Soft-Key, Remote Key, Patch Recall) the following is transmitted from the Sys-Net If the mute is turning on 0x90, <Input Channel Number>, 0x7F Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). If the mute is turning off 0x90, <Input Channel Number>, 0x01 Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16).

Output Channel Mutes

To turn an output mute on 0x90, <0x20 + Output Channel Number>, 0x7F Where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). To turn an output mute off 0x90, <0x20 + Output Channel Number>, 0x01 Where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). When an output channel mute state is changed via another method (e.g. Soft-Key, Remote Key, Patch Recall) the following is transmitted from the Sys-Net If the mute is turning on 0x90, <0x20 + Output Channel Number>, 0x7F Where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). If the mute is turning off

Page 3 of 4

0x90, <0x20 + Output Channel Number>, 0x01 Where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16).
Matrix Cross-point Levels
To control the matrix cross-point levels 0xB0, 0x63, <Output Channel Number>, 0x62, <Input Channel Number>, 0x06, <Level> Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). And where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). And where <Level> is in the range 0x00 to 0x7F (0 to 127 decimal 0 is channel off, and 127 is 0dB maximum). When cross-point level is changed via another method (e.g. Soft-Key, Remote Key, Patch Recall) the following is transmitted from the Sys-Net 0xB0, 0x63, <Output Channel Number>, 0x62, <Input Channel Number>, 0x06, <Level> Where <Input Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing inputs 1 to 16). And where <Output Channel Number> is in the range 0x00 to 0x0F (i.e. 0 to 15 decimal, referencing outputs 1 to 16). And where <Level> is in the range 0x00 to 0x7F (0 to 127 decimal 0 is channel off, and 127 is 0dB maximum).

Page 4 of 4

x OBJECT & LIQUID ENTRY: Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. WZ16:2DX AND WZ12:2DX USER GUIDE 3
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. 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.

x INSTALLATION:

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 LIVE BROWN BLACK L NEUTRAL BLUE WHITE N EARTH GND GREEN & YELLOW GREEN E As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: 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
This product complies with any European Electromagnetic Compatibility directives 89/336/EEC & 92/31/EEC & Allen & Heath warns that the changes or modifications to the appliance not approved or authorised by Allen and the European Low the compliance of73/23/EEC & 93/68/EEC. the users authority to operate it. Heath could void Voltage directive the appliance and therefore
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.

TRANSPORTING THE CONSOLE

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.

OVERVIEW

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

16 mono inputs for microphone or line sources

WZ12:2DX

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 x x x x x x x x x Wide 70dB gain range for loud and soft sources. Balanced XLR and jack both accept mic or line signals. +48V phantom power switchable to the XLR inputs. 4-band EQ with 2 mid frequency sweeps. 100Hz lo-cut filter to remove mic popping and stage rumble. Channel inserts for plugging in signal processors. Channel direct outputs for multitrack recording. 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. Peak LED indicator to warn of signal overload. 100mm long travel faders for smooth control. Stereo Input features (WZ12:2DX only): x x x x Separate A (RCA phonos) & B (jacks) stereo line inputs, each with individual input trim and on/off switches 4 band EQ 6 aux sends 100mm faders

FRONT PANEL LAYOUT - WZ12:2DX

0L[:L]DUG

-30dB 100Hz --POWER O N PHANTOM 48V O N

-5 -30dB 100Hz

-30dB 40

30 100Hz

PAD - 10 20
FACTORY PRESETS -DUAL 1 STAGE 2 ROO M 3 HALL 4 PLATE

0 O O +6

100Hz -5 -10 20
3kHz 1k 700 500Hz 5k 7k 15kHz 1k 700 500Hz

0 O O +6 + 16 +9 EFFECTS

5k 7k 15kHz

3kHz 1k 700 500Hz

5 CHAMBER 6 CATHEDRAL

MONO HF

7 ARENA 8 GATED REV
9 STAGE 10 ROO M -15 -15 180Hz 35Hz 1kHz 35Hz 1kHz 0 + 15 -15 180Hz 45 35Hz 1kHz 0 + 15 -15 180Hz 45 35Hz 1kHz 0 + 15 -15 180Hz 45 35Hz 1kHz 0 + 15 -15 180Hz 45 35Hz 1kHz 0 + 15 -15 180Hz 45 35Hz 1kHz 0 + 15 -15 180Hz 45 -15 35Hz 1kHz 0 + -15 + + 15 -15 180Hz 300 + 15 + -15 + 11 HALL 12 SLAP DLY 13 DELAY 14 ECHO 15 CHORUS 16 PHASE R
SINGLE -15 + -15 + -15 + -15 + -15 + -15 + -15 + -15 + -15 + -15 + 1 STAGE 2 ROO M 3 HALL 4 PLATE -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + CHAMBER 6 CATHEDRAL 7 ARENA
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

-30 BANK L R

SE LECT
8 GATED REV 9 KARAOKE 0 NG 10 PING PO 11 CHORUS

O O +6

12 SLAP+ REV 13 DLY+ REV ECHO+ REV 15 CH+ REV

1 1-2 2

16 PH+ REV

0 O O +4

POST PRE

5 5-6 6

0 O O +4 ALL UP = L-R 0 O O

POST POST PRE

C AUX5 = 1-16 EFFECTS MO DE SINGLE DUAL AUX5 = 1-8 AUX6 = 9-16 O O
ALT L-R OUT MO OUT NO LOCAL MO NITO R

PFL 10

:=45=5 ';

With effects by

DUAL STEREO

O UTPUTS

STEREO INPUTS

MIC/LINE INPUTS

INSERT

INA L INA L

R IN B L/M R IN B L/M
USE A-B OUTPUT F OR: ALT. L-R OUTPUT (PRE O POST F R ADER) MONO O UTPUT (PRE OR POST F ADER) STEREO MONITOR OUTPUT
DIR O UT 8 AUX6 AUX5 AUX4 AUX3 AUX2 AUX1SENDS

DIR O UT 7

DIR O UT 6

DIR O UT 5

DIR O UT 4

DIR O UT 3

DIR O UT 2

DIR O UT 1

EF CTS FE

MIDI IN

L/M ST1 R EF CT FE 1-16 EF CT FE 1-8 EF CT FE 9-16

FO OTSWITCH

EXT. INPUT SINGLE

RETURN

MIX L R

XLR OUT

+ IN - IN
TOR DUCETHER O FIR O E CTR SHO E ISK F E R LE IC CK DONO E PO THIS APPAR T X SE ATUS T R O MO R. O AIN R ISTU E

DIR OUT 3

DIR OUT 2

DIR OUT 1

FOOTSWITCH

L/M EXT. INPUT ST1 R SINGLE EF CT FE 1-16
TORE DUCE THE RISK O FIR O E CTR SHO F E R LE IC CK DONO E PO THIS APP ATUS TORAIN O MO T X SE AR R ISTUR. E
SUPPLY VO LTAG R E E ANG : 100 - 240V ~ 47-63Hz ~ 30WMAX O FF O N

TIP + RING-

EF CT FE 1-8 EF CT FE 9-16

LINE IN/OUT

IMPEDANCE BALANCE D SE ND INSERT
AV R U DECHO E TR U - N PAS O VR. IS: ISQ E C LEC IQ E E U IR

RE TURN

FU SE T500mA 250V 20mm
R FE T U RG IDEBE R C N C GSUPPLY E R O SE U FO E O NE TIN. NOUSE SE VICE R R ABLEPAR INSIDE TS. R FE SER INGT Q E R VIC O UALIF D SER IC PE SO L. IE V E R NNE
Made in the UK by ALLE & HE H N AT
A DIVISIO O HAR N F MAN INTE NAT NAL IN ST IE Ltd. R IO DU R S

SE IAL No: R

W NING FO C NTINUE PR T TIO AG STR O FIR AR : R O D O EC N AIN ISK F E R PLACE F E USEW SAME T PEAND R ITH Y ATING AT NT N: R MPLAC LE F TE IO E ER USIBLE AVECUN D ME S C ACT R IQ S. ES ME AR E IST UE

SPECIFICATIONS:

0 dBu = 0.775 Volts rms Max O/P Level L-R +27dBu into 600ohm max load Other o/ps +21dBu into 2k ohm max load Internal headroom Mix to o/p +23dB Channels +21dB Peak LEDs 5dB before clipping 0 dBV = 1 Volt rms Power consumption Mains fuse rating 100-120V AC use 220-240V AC use 30W max T315mA 20mm T630mA 20mm Frequency response 20Hz to 50kHz +0/-1dB THD - +14dbu, 1kHz Channel to mix <0.008% Crosstalk 1kHz Channel fader down Channel off
o/p Mechanical specifications Dimensions (mm) Width Desk mounted 483 Rack mounted 483 (19) Packed 590 Unpacked 10kg Weight Height (10U) 260 Packed 13kg Depth 530 135

<-90dB <-90dB

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)
Mains Power Internal 100V to 240V AC@50/60Hz switched mode PSU with autosensing

CONNECTIONS

CONNECTOR Mono IN Stereo IN Stereo Return IN Channel Inserts LR insert LR AB Auxes Direct Headphones TYPE XLR TRS Jack TRS Jack RCA phono TRS jack TRS jack TRS jack XLR TRS jack TRS jack TRS jack TRS jack BAL/UNBAL INPUTS Balanced Balanced Unbalanced Unbalanced Balanced INSERTS Unbalanced Unbalanced OUTPUTS Bal Impedance balanced Impedance balanced Impedance balanced Tip L, Ring R IMPEDANCE Pad out 2k ohm Pad in - >10k ohm >10k ohm >10k ohm >10k ohm <75 ohm, >10k ohm <75 ohm, >10k ohm <75 ohm <75 ohm <75 ohm <75 ohm LEVEL -60 to 20dBu -30 to +10dBu -20 to +10dBu -20 to +10dBu -10dBV (+4dBu option) 0dBu -2dBu +4dBu -2dBu (+4dBu bal option) -2dBu (+4dBu bal option) 0dBu
Note Balanced XLRs Pin 2 hot, Pin 3 cold Balanced jacks Tip hot, ring cold WZ16:2DX AND WZ12:2DX USER GUIDE 9

PLUGGING UP THE SYSTEM

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. CONNECTOR PINOUTS
CONNECTORS, CABLES AND THEORY All input and output XLR connectors are 3-wire differentially balanced. These have 3 connector pins: pin 1 = ground (cable screen), pin 2 = signal +ve, pin 3 = signal -ve All the master output 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 multimicrophone mixing. For live work where long cables runs are required, balanced interconnections should be used. Short interconnections between more affordable 2-wire (signal, ground) unbalanced effects units or signal processors and mixing console may be utilised. Refer to the following diagram for unbalanced to balanced connections.
DEALING WITH GROUND LOOPS, BUZZ AND INTERFERENCE For optimum performance all audio signals should be referenced to a solid, noise-free earth point, frequently referred to as the star point or clean earth. A ground loop is created when the signal has more than one path to ground (earth). Should you experience hum or buzz caused by ground loops, check first that each piece of equipment has its own separate path to ground. If so, operate ground lift switches on connected equipment in accordance with the instruction manuals. Alternatively disconnect the cable screen at the destination end. To avoid interference pickup keep audio cables away from mains power units and cables, thyristor dimmer units or computer equipment. Where this cannot be avoided, cross the cables at right angles to minimise interference. CONNECTING CHANNEL INPUTS Both microphone and line sources such as keyboards, replay devices and effects processors can be plugged into either the jack or XLR input for convenience. Do not connect to both at the same time. The channel accepts a wide 70dB range of source levels. The balanced 3-wire input provides the best immunity to interference pickup on long cable runs.
PLUGGING UP THE SYSTEM (CONTD)
CONNECTING CHANNEL INPUTS (CONTD)
CONNECTING TO CHANNEL INSERTS You do not need to plug anything into the channel insert socket for normal operation. You may, however wish to insert a signal processor such as a compressor/limiter or noise gate into the channel signal path to prevent excessive peaks or to cut down source noise. The insert lets you do this by breaking the signal path after the input pre-amp and before the EQ. Use a Y-lead or suitable TRS jack lead to connect to the external processor. The insert operates at 0dBu line level. Adjust the processor input and output levels for optimum signal level.

CHANNEL DIRECT OUTPUTS The channel direct output taps the signal off post-fader (pre-fader if the internal link option is changed) for connection to external processing or recording equipment. This is ideal for multitrack recording during a live performance. Here each channel can be recorded on a separate track for mixdown later. The output is impedance balanced on TRS jack. This means that you get the benefit of interference immunity when connecting to outboard equipment with balanced inputs. You can, of course, also connect to unbalanced equipment. The signal operates at nominal 0dBu line level. L-R M AIN OUTPUTS These 3-wire balanced outputs on XLR connectors operate at a nominal +4dBu to drive professional equipment over long cable runs without interference pickup. Connect to an amplifier, of suitable power rating for the venue, to drive the PA loudspeakers. Or connect to a 2-track recorder for studio or location recording.

PLUGGING UP THE OUTPUTS

LR Mix Inserts Use these sockets if you wish to insert external signal processing equipment into the L-R mix postmix 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 2wire 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
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. WZ16:2DX AND WZ12:2DX USER GUIDE
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.

O O POST +6

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.
STEREO INPUT CHANNEL WZ12:2DX ONLY

-10 20

DUAL INPUTS A & B - The stereo input channel features a dual input on RCA Phonos (A) and TRS jacks (B). This is ideal for fast switching between stereo sources without having to 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)

-5 -10 20

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.

EQ IN AUX 1

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.

PFL 10 L-R 5 1-3-4

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.

STEREO RETURNS

POWE ON R PHANTO M 48V O N
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.
0 O O +6 + 16 +9 EFFECTS +6 +3

MASTERS

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.

MONITOR

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.

ALT L-R O UT MONO OUT LO CAL MO NITO R

+4 EFFECTS 0

AUX5 = 1-16 MODE SINGLE DUAL AUX5 = 1-8 AUX6 = 9-16 O O + 10

A-B OUTPUT

POWER ON PHANTOM 48V O N
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 subbass loudspeaker systems, or mono recording and broadcast feeds. When AB 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:
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
+4 EFFECTS 0 ALT L-R O UT MONO OUT LO CAL MO NITO R
AUX5 = 1-16 MODE SING LE DUAL AUX5 = 1-8 AUX6 = 9-16 O O + 10
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

DIGITAL STEREO EFFECTS

0 O O +6 O O +6 FACTORY PRESETS 0 DUAL O O +6 O O +STAGE 2 ROOM 0 O O +6 + 16 +9 EFFECTS +6 +HALL 4 PLATE 5 CHAMBER 6 CATHEDRAL 7 ARENA 8 GATED REV

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.

DUAL MODE

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 EFFECT PROGRAM 9-16 NAME EFFECT Stage As effect #1 Room As effect #2 Hall As effect #3 Slap Dly 100ms delay Delay 200ms stereo delay Echo Stereo echo Chorus Ideal for guitar chorus Phaser Instrument/vocal phaser
These effects are similar to those in Single Mode
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 FUNCTIONS

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.
WIZARD FXS SYSTEM MIDI SPECIFICATION
PROGRAM CHANGE 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 CONTROL CHANGE CC NUMBER 16-19 FX1 Param 1-4 20-23 FX2 Param 1-4 24-27 EQ Param 1-4 28-29 NG Param 1-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 1 CC#16
FX Type St Ro HA PL Ch CA Ar GA D4 D3 CH D1 D3 D3 CH PH St Ro HA PL Ch CA Ar GA Key to FX types:
MIDI Control Change No No Name
FX1 Processor CC#17 CC#18

4 CC#19

FX Type

1 CC#20

FX2 Processor CC#21 CC#22

4 CC#23

Stage Room Hall Plate Chamber Cathedral Arena Gated Rev Karaoke Ping Pong Chorus Slap+Rev Dly+Rev Echo+Rev Ch+Rev Ph+Rev Stage Room Hall Plate Chamber Cathedral Arena Gated Rev Stage Room Hall Slap Delay Delay Echo Chorus Phaser
Name and Default Range Name and Default Range Name and Default Range Name Default Range units Value units Value units Value and units Value Pre-dly ms 15 0-99 Decay 8 1-10 Damping 9 1-10 Level 90 0-99 Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Delay Delay s Speed Delay s Delay s Delay s Speed Speed Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms 1.0.1 0.2 0.0 0-99 0-99 0-99 0-99 0-99 0-99 0-99 1-5 0-99 Decay Decay Decay Decay Decay Decay N/A Depth Decay 1-10 1-10 1-10 1-10 Damping Damping Damping Damping Damping Diffusion Repeats Feedback Delay ms Feedback Feedback Feedback Delay ms Feedback Damping Damping Damping Damping Damping Damping Diffusion 1-10 1-10 1-10 1-10 1-10 Level Level Level Level Level 70 0-99 0-99 0-99 0-99 0-99
Name and Default Range Name and Default Range Name and Default Range Name and Default Range units Value units Value units Value units Value
8 1-10 Damping 7 1-10 Level 70 0-7 1-10 0-99 0-40 0-99 0-99 0-99 0-40 0-99 1-10 1-10 1-10 1-10 1-1-10 1-10 Level 90 0-1-10 0-99% 0-40 0-99% 0-99% 0-99% 0-40 0-97% 1-10 1-10 1-10 1-10 1-10 1-10 Level Level Level Level Level Level Level Level Level Level Level Level Level Level 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 HA HA PL Ar PL Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms Pre-dly ms 30 0-99 0-99 0-99 0-99 0-99 Decay Decay Decay Decay Decay 5 1-10 1-10 1-10 1-10 1-10 Damping Damping Damping Damping Damping 9 1-10 1-10 1-10 1-10 1-10 Level Level Level Level Level 20 0-99 0-99 0-99 0-99 0-99
0.1-2 Delay ms 0.1-2 Delay ms 0.1-2 Delay ms 0.1-2 Delay ms 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 Depth Depth Decay Decay Decay Decay Decay Decay Decay Decay
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

1-10 Damping 7 1-10 Level 99 0-99 1-8 1-10 1-10 Level 99 0-99 St Ro HA D1 D3 D4 CH PH Pre-dly ms Pre-dly ms Pre-dly ms Delay s Delay s Delay time Speed Speed 35 0.1 0.0-99 0-99 0-99 Decay Decay Decay 90 1-10 1-10 1-10 Damping Damping Damping 1-10 1-10 1-10 0-99% 0-99% 1-10 0-40 0-97% Level Level Level Level Level Level Level Level 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0.1-2 Delay ms 0.1-2 Delay ms 1-5 0-99 0-99 N/A Depth Depth 0-99 Feedback 0-99 Feedback 0-40 Repeats Delay ms 0-99 Feedback
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; Bn,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.
FX Type Selection via MIDI Note that the 32 FX program types may be changed using MIDI Control Change No 31 as follows:

Parameters

FX Type CH FL PH Tr Pn RS PS Dn St St Ro Ro HA HA PL PL Ch Ch CA CA Ar Ar GA GA RE RE Rg Co Cd Cd D1 D2 D1 D1 D2 D2 D1 Description Chorus Flanger Phaser Tremelo Panner Rotary Spkr Pitch Shift Detuner Stage Stage Room Room Hall Hall Plate Plate Chamber Chamber Cathedral Cathedral Arena Arena Gated Gated Reverse Reverse Ring Modulator Compressor Vocoder Vocoder 3 Mono Delay (1 tap) Stereo Delay (1 tap) Mono Delay (2 taps) Mono Delay (1 tap) Stereo Delay (1 tap) Mono Delay (2 taps) Karaoke H or W type* H H H H H W H H W H W H W H W H W H W H W H H W H W H H W W H H H W W W H ID Code Name Speed Speed Speed Speed Speed Speed Shift Detune Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Predelay Frequency Threshold Sibilance Sibilance Delay coarse Delay course Delay course Delay course Delay course Delay course Delay time Range 0-99 0-99 0-99 0-99 0-99 0-99 -12 to +24 -12 to +12 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 1-99 60-0 0-99 0-99 0.1-2.0 0.1-2.0 0.1-2.0 0.1-2.0 0.1-2.0 0.1-2.0 1-5 Name Depth Depth Depth Depth Depth Type Tracking N/A Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay Decay N/A Ratio Type Type Delay fine Delay fine Delay fine Delay fine Delay fine Delay fine N/A 2 Range 0-40 0-40 0-40 0-40 0-variants 1-3 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-19, inf 1-5 1-5 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms 0-99ms Name Delay Feedback Feedback N/A N/A X-over freq N/A N/A Damping Damping Damping Damping Damping Damping Damping Damping Damping Damping Damping Damping Damping Damping Diffusion Diffusion Diffusion Diffusion N/A Attack N/A N/A Feedback Feedback Feedback Feedback Feedback Feedback Repeats 3 Range 0-40ms 0-97% 0-97% 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 1-10 0-99% 0-99% 0-99% 0-99% 0-99% 0-99% 1-10 Name Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Level Gain Level Level Level Level Level Level Level Level Level 4 Range 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 -19 to +20 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99

channel assembly allow pre-EQ and/or pre-ON if required. This is shown in the diagram below. CHANNEL DIRECT OUTPUT SOURCE 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.

PHANTOM + 48V ON

DISABLE
4 BAND EQUALISER HF GAIN LO-CUT FILTER MF2

PEAK PFL

AUX 1-6 LEFT RIGHT PFL
0L[:L]DUG 45=5 '; DQG#49=5 ';

MASTER

AUX SENDS 1-6

AUX OUT

BALANCED

TIP= +

-30dBu

AUX MIX

+ TIP= SEND RING= RETURN

TO MONITOR

+ 4dBu BAL OPTION

-2dBu IMPEDANCE BALANCED

POST-EQ PRE-EQ POST-ON PRE-ON
MODE AUX 5 SINGLE EFFECT 1-16 EFFECT 1-8 AUX 6 DUAL EFFECT 9-16

PRE DIRECT OUT

0dBu IMPEDANCE BALANCED TO STEREO RETURN 1 L R TIP= + RING= PRE-FADE POST-FADE

POST PRE 4

POST 5 6
PEAK 4 BAND EQUALISER L/MONO INPUT B R MF1 MF2 LF L/MONO INPUT A R GAIN ON
POST-ON POST-EQ PRE-ON PRE-EQ POST-ON MONO MONO
PFL DC PFL MIX MONITOR METERS PFL ACTIVE
FADER GAIN ON MONO HF ON PAN

MONITOR SELECT

HEADPHONES

STEREO 1-2

AUX2 AUX3

STEREO 3-4

AUX4 AUX5

STEREO 5-6

RIAA OPTION

POST-EQ PRE-ON PRE-EQ

AUX6 POST PRE ST1 (EFFECTS) POST 6

ALL UP= L-R

ST2 A-B LEV MONITOR

DUAL STEREO INPUTS

(WZ12:2 ONLY)
+ 4dBu BAL OPTION -2dBu IMPEDANCE BALANCED
STEREO RETURN 1 (EFFECTS)

FROM EFFECTS

L/MONO ST1 INPUT

BALANCED -10dBV

+ 4dBu OPTION

TIP= + + -

L FADER

LEFT OUT

STEREO RETURN 2

MONO -

+ 4dBu

R FADER

RIGHT OUT

ST2 INPUT

BALANCED -10dBV TIP= + + 4dBu OPTION

+ R MIX + 4dBu