User guide
14 WZ14:4:2
U
SER
G
UIDE
EVENODD
LR
OO
30
20
10
L-R
3-4
1-2
0
5
5
10
ON
PEAK
AUX
AUX
PAN
6
5
POST
PRE
+6OO
0
+6OO
0
PRE
POST
+6OO
AUX
AUX
AUX
AUX
4
3
2
1
+6OO
0
+6OO
0
+6OO
0
0
0
MF1
-15
60
35Hz
-15
-15
MF2
60Hz
LF
45
+15
+15
0
180Hz
300
1kHz
450
0
+15
GA I N
- 10
-15
12kHz
700
500Hz
1k
HF
PAD
0
3kHz
15kHz
5k
7k
+15
50
100Hz
306020
-30dB
40
PAD
30
EQ
IN
!
PFL
M
ONO
I
NPUT
C
HANNEL
PAD - Attenuates the input signal by 30dB. It affects both the XLR and jack inputs. Press
this switch when the input signal is too high with the GAIN control backed off.
GAIN - Use this control with the PAD switch to adjust the channel input sensitivity to match
the connected source (-60 to +10dBu) to the console operating level (0dBu). Press the PFL
switch to check that the signal reads an average ‘0’ on the meters.
100Hz LO-CUT FILTER - Attenuates frequencies below 100Hz to reduce low frequency
source noise such as microphone proximity popping, stage noise and transport rumble. It
can also be used to clean up sounds which do not have much bass content, such as vocals
and cymbals.
EQUALISER - This provides separate, simultaneous control of 4 frequency bands. Each
band may boost or cut by up to +/- 15dB. The centre flat position is detented for quick
resetting.
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 swept mid frequency bands have a peak/dip (bell shaped) response which
means that the maximum boost or cut occurs at the selected (centre) frequency. The
centre frequency can be swept over a wide range. MF1 = 500Hz to 15kHz, MF2 = 35Hz to
1kHz. Use the mids to add warmth or presence to the sound or to notch out problem
resonances which can result in feedback.
EQ IN - Press to switch the EQ into the signal path.
AUXILIARY SENDS - You can set up to 6 separately balanced mixes using the aux send
controls. Up to +6dB of additional boost is available.
Aux 1 - 4 and Aux 5 - 6 can be used as either MONITOR SENDS to the performers or as
EFFECTS SENDS to external signal processing equipment. The output can be monitored
using the aux send master AFL system. MONITOR SENDS are normally set pre-fader
(PRE) and EFFECTS SENDS normally post-fader (POST). When set to POST, the amount
of channel signal in the monitor mix is dependent on the channel fader level. Pre-fade aux
sends are post-EQ, post-ON as standard (can be reconfigured pre-EQ or pre-ON by setting
internal links).
PAN - Positions the channel signal within the stereo image, L (odd groups) and R (even
groups). The centre position (mono image) is detented for quick resetting.
ON - This turns the channel signal on or off. Status is indicated by the LED.
PEAK - The red LED illuminates when the signal is within 5dB of clipping. Should this
occur turn back the GAIN control to reduce the signal level. This LED also half illuminates
when a PFL switch is pressed.
PFL - Press PFL (Pre Fade Listen) to listen to the pre-fade signal on headphones or local
monitor without affecting the main outputs. The signal level is shown on the L and R
bargraph meters.
L-R, 1-2, 3-4 ROUTING SWITCHES - These switches route the channel signal to L-R
master and groups 1-2, 3-4. Use the pan control to route to individual groups, i.e. left to L,
1 or 3, or right to R, 2 or 4.
+48V PHANTOM POWER - This is switched individually for input on the rear panel.
Phantom power may be switched off altogether with global +48V switch located on the front
panel near the headphone socket.
Channel fader - 100mm smooth action fader controls the overall channel level. All post
fade aux send levels are dependent on the level of the channel fader.