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Mono Input Channel
PAD
-30dB
40
30
GAIN
50
PAD
- 10
20
60
30
100Hz
0
HF
12kHz
-15
+ 15
3kHz
1k
5k
700
7k
500Hz
15kHz
0
MF1
-15
+ 15
180Hz
60
300
45
450
35Hz
1kHz
0
MF2
-15
+ 15
0
LF
60Hz
-15
+ 15
EQ
IN
18
PAD
Affects both the XLR (if no TRS jack is plugged in) and the TRS jack
input to attenuate the input signal by 30dB. Press PAD when plugging in line
level sources, or when the signal is too high with the GAIN control turned down.
GAIN
Adjusts the input sensitivity to match the connected source to the
console 0dB operating level. This provides a wide 70dB range with continuous
adjustment for signals from – 6 0dBu to – 2 0dBu with PAD switched off, and – 3 0dBu
to +10dBu with PAD on. Use the PFL system to correctly set the gain using the
console meters.
100HZ FILTER Switches in the high pass filter to cut frequencies below 100Hz
with a slope of 12dB/octave.
microphone proximity popping and low frequency ambient pickup, and to filter
out hum and rumble. The filter is post-insert and pre-EQ so that it affects the
signal returned from any inserted equipment by removing the unwanted low
frequencies before equalisation.
EQUALISER
The channel equaliser is a powerful tool to creatively tailor the
sound within the mix, or to deal with source problems such as poor microphone
characteristics, noise and feedback. Start with the EQ controls set to their mid
(flat) position and make sure you have chosen the best type and position of
microphone for the source. Then adjust the EQ to achieve the sound you want.
Take time to experiment with the controls so you get to learn the effect the
equaliser can have on the sound.
The WZ20S mono channel provides separate tone control over four frequency
bands including two swept frequency (parametric) mids. The frequencies in
each band may be boosted or cut by up to 15dB. The centre flat position is
detented for quick resetting.
HF
Turn this control clockwise to boost and anticlockwise to cut the high
(treble) frequencies. This has a shelving response with all frequencies above
the 12kHz turning point affected.
affected by a decreasing amount. Use HF boost to brighten up the sound by
adding sparkle, and cut to reduce source hiss or ambient high frequency mic
pickup.
MF1 Turn the +/- control clockwise to boost and anticlockwise to cut the higher
mid frequencies. This has a bell shaped peak/dip response that has maximum
boost or cut at the selected frequency. Use the upper control to select this
centre frequency between 500Hz and 15kHz.
enhance the intelligibility of vocals helping them to cut through the mix. Cutting
to notch out a ringing frequency can help to increase the gain before feedback.
MF2
This is similar to MF1 but affects the lower mid frequencies selectable
from 35Hz to 1kHz. Boosting can enhance the warmth of the sound while
cutting can reduce the effect of resonant or boomy frequencies.
LF Turn this control clockwise to boost and anticlockwise to cut the low (bass)
frequencies. This has a shelving response with all frequencies below the 60Hz
turning point affected. Note that frequencies above 60Hz are affected but by a
decreasing amount. Use LF boost to enhance low end punch, and cut to further
reduce source hum and rumble.
EQ IN Switches the equaliser in or out of the signal path. Use this to check the
effect of the control settings by comparing the equalised and unequalised
.
signals
Use this to clean up vocals by reducing
Note that frequencies below 12kHz are
Boosting around 3kHz can
WZ20S User Guide
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