Wheatstone Corporation DMX-8 User manual

1
Networked AoIP Broadcast Console
Manufactured by Wheatstone Corporation

2
Publication Information
©2018 Wheatstone Corporation
Wheatstone considers this document and its contents to be proprietary and confidential. Except for making a reasonable number of copies for your own
internal use, you may not reproduce this publication, or any part thereof, in any form, by any method, for any purpose, or in any language other than English
without the written consent of Wheatstone Corporation. All others uses are illegal.
This publication is designed to assist in the installation and use of the product as it exists on the date of publication of this manual, and may not reflect the
product at the current time or an unknown time in the future. This publication does not in any way warrant description accuracy or guarantee the use for the
product to which it refers.
Wheatstone reserves the right, without notice, to make such changes in equipment, design, specifications, components, or documentation, as progress may
warrant, improving the performance of the product.
Trademarks
Product names and other appropriate trademarks, e.g. WheatNet-IP™, VoxPro®, PR&E®are registered trademarks of Wheatstone Corporation or its
subsidiaries. Microsoft®and Windows®are registered trademarks of Microsoft Corporation. All other trademarks and trade names are the property of their
respective companies.
Customer Service Contact Information
Wheatstone
600 Industrial Drive
New Bern, NC 28562 USA
For technical support, including on-site service, general product training, repair and parts, contact Wheatstone / PR&E through the webpage:
www.wheatstone.com; through email at [e-mail]; or by phone,+01 252-638-7000.
Manual Revisions
A = Initial release, October 2017
B = technical corrections, PR&E IP Navigator additions, operational clarifications, October 2017
C = Appendix A on networking multiple consoles added; some technical corrections; consolidated software app info into chapter 3, July 2018
D = Added info on a new feature: saving/loading EQ Configuration files (DMX Surface Setup, build 1.0.29 and later), September 2018
D.1 = Added info about saving two Studio EXT selections, October 2018
D.2 = Changed exclamation point graphic to display properly in a PDF, October 2018

3
TABLE OF CONTENTS
Publication Information .................................................................. 2
Safety Instructions & Hazard/Warning Labels .................................. 4
1 – Introducing the DMX Console .................................................... 5
DMX Overview ..................................................................... 6
DMX Specifications ............................................................ 7
Warranty Statement ............................................................ 9
FCC Compliance Statement ................................................. 9
2 – DMX Hardware Installation ........................................................ 10
Locating the DMX Components ............................................ 10
PR&E Mix Engine Connections ............................................. 12
DMX Power Up .................................................................... 13
Checking Out the DMX Features ........................................... 14
PR&E Mix Engine Signal Notes ............................................. 16
Additional DMX Features ..................................................... 17
Razor I/O Interface Notes ................................................... 19
3 – PR&E Apps and Console Configuration ........................................ 20
DMX Surface Setup App ...................................................... 20
PR&E Navigator App ............................................................ 31
PR&E System Configuration Tool .......................................... 43
Software Updates ............................................................... 44
4 – DMX Operation and Applications ................................................ 45
Console Operation .............................................................. 45
Using the Advanced Channel Features .................................. 51
DMX Applications ............................................................... 55
Razor I/O Interface ............................................................. 57
5 – DMX Service Information ........................................................... 58
Appendix A – Creating a PRE-IP Network ........................................... 60

4

5
1 – INTRODUCING THE DMX CONSOLE
hanks for joining the growing ranks of broadcasters
employing PR&E products, now designed, manufactured,
and supported by the Wheatstone Corporation.
Throughout PR&E’s long history we’ve endeavored to
provide the finest quality products, documentation, and after-sale support.
To obtain maximum benefit from the DMX console’s capabilities, please
read through this introduction and Chapters 2 and 3 prior to installing the
DMX console. For those in a hurry, a DMX Quick Guide (a PDF file on the
USB thumb drive that ships with the console) summarizes the console’s
physical connections, software, and Surface controls.
The DMX console has these main components:
●DMX-8 or DMX-16 Surface – This part is commonly referred to as
the “console” since it sits on the countertop and has all of the board
operator controls. Figure 1-1 shows the DMX-8 Surface. The DMX
Surface has these features:
●Fader Channels – There are eight fader channels on the DMX-8
and sixteen on the DMX-16. Each fader channel has eight push
buttons with LED illumination (channel on, channel off, cue on/off,
talkback (TB), and four PGM bus assigns), a color Organic Light
Emitting Diode (OLED) display to show channel status, a 100 mm
fader, and a rotary Channel Encoder to select the channel’s source.
The Channel Encoders also allow access to these Advanced Chan-
nel Features: audio mode, panning, and EQ & Dynamics settings,
any of which can be locked out for daily operations.
●Monitor Controls – The console supports a Control Room and an
associated Studio with: CR monitor, CR headphone, Cue, and
Studio Monitor level controls; CR and Studio monitor source
selectors; timer controls; and four console Event buttons.
●Meter Bridge – There are three stereo LED meters showing PGM
1, PGM 2, and a Switched signal (PGM 3, PGM 4, EXT, and CUE, if
enabled). An On Air “Hot Mic” indicator and a four digit timer are
also included in the DMX meter bridge.
●Headphone output – A board operator headphone amp is includ-
ed in the DMX Surface with a ¼” TRS jack on the right side of the
chassis, in-line with the OLED displays.
Figure 1-1 DMX-8 Surface
●PR&E Mix Engine – The 1RU Mix Engine (Figure 1-2) has the audio,
logic, and network connections for the DMX console along with the
DSP, signal mixing, and AoIP (Audio over IP) interface functions.
Figure 1-2 PR&E Mix Engine, front panel
The PR&E Mix Engine has these main features:
●5-port Gigabit Ethernet switch to network the Surface and Engine,
along with three other Ethernet devices, like an admin PC; audio
playback server; VoxPro PC; Razor I/O Interface; or a main AoIP
gigabit switch to network multiple DMX studios together
●Two low-noise mic preamps, with female XLR inputs, each with
switchable phantom power and input gain trim pot
●Eight stereo/dual mono inputs (four analog and four AES)
●Four stereo program outputs (analog and AES on each output)
●Four stereo analog outputs for Control Room, Studio, Cue, and an
operator headphone output for an outboard amp
●One 6-port GPIO logic connector
T

6
●DC power source for the DMX-8 Surface (the DMX-16 Surface has
a separate in-line DC supply)
●Installation Kit – The DMX ships with a USB thumb drive with PDF
documentation files and the PR&E software application installers for
the three software apps used for console configuration. Note that PR&E
Navigator is a licensed application, so a site license (gratis) is required
to continue using it beyond an initial evaluation period.
DMX-8 consoles include an IEC AC power cord for the Mix Engine and a
DC cable for the Surface. DMX-16 consoles include an in-line DC sup-
ply for the Surface and two IEC AC power cords for the Mix Engine and
in-line supply. All consoles include a short CAT5e cable to connect the
Mix Engine to its built-in Ethernet switch.
DMX OVERVIEW
The DMX console is a compact, self-contained, Audio over Internet
Protocol (AoIP) radio broadcast and production console that uses the
WheatNet-IP (WNIP) AoIP networking convention. Designed for 24 / 7
operation, the console has two main hardware components: a 1RU rack
mount PR&E Mix Engine, which has all of the console’s audio and logic
connections plus a 5-port Gigabit Ethernet Switch; and a tabletop board
operator controller, called the Surface (which most users refer to as the
“console”). Both Surface and Mix Engine are fully FCC and CE certified.
The DMX console ships with a default configuration so it can be powered
up and used straight out of the box. These default settings are quickly
changed, to configure the console for use in an on-air studio, production
room, newsroom, or other application, using the Windows PC apps that are
included with the console. Their use is covered in detail in Chapter 3.
Razor I/O Interfaces(1RU, FCC and CE certified) are available to add
audio and logic I/O to any DMX console. Razors use RJ45 connectors for
audio (eight inputs and eight outputs). They come in three I/O styles: all
analog I/O with two mic preamps (Razor 16A); all AES I/O (Razor 16D);
or half analog and half-AES (Razor 16AD). Each Razor also has a 6-port
GPIO logic connector. Each Razor connects to a port on the Mix Engine’s
Gigabit Ethernet switch using a single CAT5e or CAT6 cable of up to 330
feet (100 meters).
DMX Surface
The Surface’s eight or sixteen audio control channel strips are called
Fader Channels (three channels are shown in Figure 1-3along with the
monitor controls). Each fader channel has a large-knob rotary encoder to
allow the board operator to select the audio source for each fader channel.
The channel display, located just below each channel’s fader, shows the
name of the audio source currently “dialed up” on that channel along with
other source or channel status information. Rotating the encoder, while
the channel is off, switches the channel display to list alternate sources
that are visible on that channel. One source name is highlighted. Pressing
once or “clicking” the rotary encoder “takes” that highlighted source,
connecting it to that fader channel.
The fader channel’s
audio is assigned to any
combination of Program
buses using the four
assignment buttons just
below the channel
encoder.
Each fader channel has
a 100 mm fader for bus
level control, plus
illuminated Channel Off,
Channel On, Cue, and
Talkback (TB) buttons. All
of the fader channel
controls are identified in
Figure 4-2 on page 46.
At the right end of the
Surface are the Monitor
Controls. Each control and
display is identified in
Figure 4-4 on page 49.
The left column (CR) has
the Control Room controls.
Three buttons at the top
select which source (PGM
3, PGM 4, or External) is
feeding the Switched
Meter. A large user-
defined Soft button (no
default setting) is just above the six Control Room monitor source select
buttons (PGM 1 – PGM 4, EXT 1, and EXT 2) which control which source
feeds the Control Room monitors and board operator headphone output. A
Spilt Cue button sets how cue audio is fed to the headphones (if cue is set
to feed the headphones during console configuration).
Figure 1-3 Surface Controls
DMX and EMX consoles and Razor I/O Interfaces are not
interoperable with a WNIP network because they lack
the Intelligent Networking capabilities built into every
WNIP Blade. However, audio can be streamed between
the PRE-IP devices and the WNIP devices when WNIP
Navigator is licensed for “cross-networking.” For details,
contact Wheatstone technical support, prior to
networking a WNIP and PRE-IP system together, to
ensure that the two systems are running the code
required to support cross-network audio streaming.

7
The right column (STUDIO) has four Event buttons; two large Timer
control buttons; a studio monitor source selector (EXT); and a large Talk
to Studio button (TB).
The CUE/SOURCE, CR, STUDIO, and HDPN controls are rotary encoders
used primarily to control the level of the four dedicated monitor outputs on
the Mix Engine. The two Monitor OLED displays show the current levels for
those four outputs and their status (a red X over a bar graph icon indicates
that output is muted).
The CUE/SOURCE and STUDIO encoders are also used to select and take
“wild sources” for the CR and Studio, and are used to assign sources to the
various EXT buttons.
The Surface controls are all on a single field-replaceable Control Panel
that connects to an internal network interface board using one (DMX-8) or
two (DMX-16) plug-in ribbon cables. This allows for rapid field
replacement, with minimal interruption to operations, in case of spills or
other damage to the Surface controls since the program audio is flowing
through the Mix Engine rather than through the Surface (except for the
audio to the side panel-mounted headphone jack).
Meter Bridge
The integrated direct-view Meter Bridge (Figure 1-4) sits above and
behind the control panel. It has three stereo level meters, a Timer, and an
On Air indicator. The left meter displays the Program 1 bus levels. The
middle meter displays the Program 2 bus levels. The right meter is
switchable between showing the other two program buses (PGM 3 or PGM
4) or an External signal (EXT) like an off-air tuner signal. The switched
meter can also be set to auto-switch to show cue levels while cue is active.
The meters normally show both the average and peak levels, but
software settings allow them to be changed to show only the average level
or only the peak levels for special functions.
Figure 1-4 DMX Meter Bridge
The four-digit Timer is controlled manually, using the Monitor section
S/S button (Timer Start/Stop control), or automatically, when the Auto
Timer button is lit and an audio source, set for Timer Reset (assigned to
specific audio signals in the Surface Setup app) is turned on.
PR&E Mix Engine
All audio and logic connections are made on the rear of the Mix Engine
(Figure 1-5). This 1RU device has a 5-port Gigabit switch; two high-
quality low-noise Mic Preamps (with gain control and 48-volt phantom
powering); Signal Processing with EQ and dynamics (applied on a fader
channel basis); eight routable audio inputs (four analog and four AES);
four Program audio outputs (four analog and four AES outputting the
same set of signals); four dedicated analog outputs (to feed powered
Control Room and Studio monitors, powered cue speakers, and an
outboard board operator headphone amp); six GPIO logic contacts
(each independently set to function as a logic input or logic output) and an
Ethernet jack to connect the Engine to the built-in Gigabit switch.
Figure 1-5 PR&E Mix Engine, rear panel
Input and Output Connectors
All audio, logic, and network connections on the Engine and on the
optional Razor I/O Interface (Figure 1-6)—other than microphone preamp
inputs which have female XLR connectors, use RJ45 connectors and
category wiring (CAT5, CAT5e, or CAT6). Figure 2-4 on page 12 has wiring
pin outs for the RJ45 connectors used to connect analog audio, digital
audio, and logic to/from the DMX console.
Analog and AES wiring conforms to the StudioHub+ convention with two
balanced analog, or one AES/EBU (AES3) signal, per RJ45 jack.
The RJ45 Logic jack has six GPIO logic ports plus a +5V and a GND
connection which use the WheatNet-IP (WNIP) logic jack wiring format.
Figure 1-6 Razor 16AD Interface, rear panel RJ45 Connector Detail
DMX SPECIFICATIONS
Test Conditions:
FSD = Full Scale Digital, 0 dB FSD equivalent to +24 dBu analog
0 dBu corresponds to 0.775 volts RMS—regardless of the circuit
impedance, as measured using a 600 ohm circuit.
Noise specs measured using a 22 Hz – 20 kHz bandwidth. A 30k Hz
bandwidth increases the noise measurement by 1.7 dB.
Wheatstone / PR&E reserves the right to change the following
specifications without notice or obligation.

8
Mic Preamp
Source Impedance: 150 – 600 Ω, balanced
Nominal Input Level: -50 dBu
Input Range: -70 to -31 dBu (using trim control to reach nominal level)
Equivalent Input Noise: -131 dBu
Logic GPIO
Six per RJ45 connector: Connection assignments made using PR&E
Navigator (logic input or output; the type of logic command)
Logic Inputs: Current-limited using internal pull-up. Supports +5 to +12
voltage logic. For a logic low, input voltage must fall below +2.5 volts.
Logic Output: +5 to +24 VDC logic, 50 mA nominal, 100 mA max
Analog I/O (Inputs & Outputs: +4 dBu, balanced)
Input Impedance: >10 k Ω, bridging
Optimal Source Impedance: <1 k Ω
Analog In > Analog Out Frequency Response:
+0.0, -0.25 dB, 20 Hz to 20 kHz @ +4 dBu
Analog In > Analog Out THD & Noise:
<0.0025%, 20 Hz-20 kHz @ +4 dBu
Nominal / Maximum Input Level: +4 dBu / +24 dBu
(±18 dB of level gain/trim control available in the PR&E IP Navigator)
Output Source Impedance: <10 Ω balanced
Output Load Impedance: 600 Ω optimal
Nominal / Maximum Output Level: +4 dBu / +24 dBu
(±18 dB of output level gain/trim control in the PR&E IP Navigator)
A > D Conversion: 24-bit resolution
D > A Conversion: 24-bit, advanced Delta-Sigma
Digital I/O (AES/EBU Inputs & Outputs)
Reference Level: -20 dB FSD (equivalent to analog +4 dBu)
Nominal / Maximum Input or Output Level: -20 dB FSD / 0 dB FSD
(±18 dB of level gain/trim control available in the PR&E IP Navigator)
Digital In > Digital Out Frequency Response:
±0.0 dB, 20 Hz to 20 kHz @ -20 dB FSD
Digital Input > Analog Output THD & Noise:
<0.00017%, 20 Hz-20 kHz @ -20 dB FSD
Signal Format: AES-3, S/PDIF (inputs only)
Digital I/O (continued)
AES-3 Input Compliance: 24-bit (uses SRC to support incoming sample
rates of 32 – 96 kHz, 16- to 24-bit resolutions)
AES-3 Output Compliance: 24-bit
Output Sample Rate: 44.1 or 48 kHz
Processing Resolution: 24-bit
Surface Dimensions
DMX-08: 4.25" x 17.625" x 17" (H, W, D)
DMX-16: 4.25" x 29.625" x 17" (H, W, D)
DMX-16 Engine Dimensions
A 1RU rack-mounted device:
1.75" x 19.0" x 13.25" (H, W, D)
Razor I/O Interface Dimensions
A 1RU rack-mounted device:
1.75" x 19.0" x 9.25" (H, W, D)
Power Supply
Type: Internal switching supply on the Razor and the DMX-16 Engine,
which also powers the DMX-8 control surface; the DMX-16 Surface uses
a separate in-line switching DC power supply
AC input: Detachable IEC cord
AC input: 90-240 VAC, 50/60 Hz
Output: +16 VDC @ 1 amp (PWR OUT jack on DMX Engine)
Output: +16 VDC @ 2.67 amps (Surface in-line supply)
Power Requirements
DMX-16 Engine: <27 watts at 120 VAC / 60 Hz
DMX-08 Surface:<10 watts at 120 VAC / 60 Hz
DMX-16 Surface:<20 watts at 120 VAC / 60 Hz
Razor: <15 watts at 120 VAC / 60 Hz
Environment
Ambient Temperature: Less than 40°C
Cooling: Convection cooled, no fans

9
WARRANTY STATEMENT
LIMITED WARRANTY BY WHEATSTONE CORPORATION
1. All equipment sold and shipped to final destinations within the USA and its
possessions warranted for one (1) full year from the date of purchase against
defects in material and workmanship. All equipment sold and shipped to final
destinations outside the U.S.A. and its possessions warranted for one (1) full
year from the date of purchase against defects in material and workmanship.
All repairs to maintain the unit at original specification will be made at no
charge to the original purchaser, except for shipping and insurance costs to be
prepaid by the owner to the factory in the event the unit cannot be serviced by
an authorized Wheatstone Corporation dealer.
2. This Warranty is subject to the following restrictions and conditions:
a) The owner must have filled out the enclosed Warranty Card and returned
it to Wheatstone Corporation; or at the time of servicing the owner must
provide proof of purchase from an authorized Wheatstone Corporation dis-
tributor or dealer.
b) This Warranty is valid for the original purchaser on the unit. Parts used for
replacement are warranted for the remainder of the original warranty pe-
riod. Repair or replacement is in the discretion of Wheatstone Corporation
and is the exclusive remedy hereunder.
c) This Warranty DOES NOT apply to damage or defects resulting from abuse,
careless use, misuse, improper installation, electrical spikes or surges, or
alteration, repair, or service of the unit or equipment by anyone other than
Wheatstone Corporation or its authorized dealer.
d) This Warranty is void if the serial number has been removed, altered or
defaced.
e) This Warranty DOES NOT cover loss or damage, direct or indirect, arising
out of the use or inability to use this unit or for shipping or transportation
to any dealer.
f) Wheatstone Corporation reserves the right to modify or change any unit in
whole or in part at any time prior to return delivery in order to incorporate
electronic or mechanical improvements deemed appropriate by the
Wheatstone Corporation but without incurring any responsibility for modi-
fications or changes of any unit previously delivered or to supply any new
equipment in accordance with any earlier specifications.
g) THERE ARE NO OTHER WARRANTIES, EXPRESSED, IMPLIED, OR STATUTO-
RY, INCLUDING ANY WARRANTIES OF MERCHANTABILITY OR FITNESS
FOR A PARTICULAR PURPOSE. IF FOR ANY REASON, ANY IMPLIED OR
STATUTORY WARRANTY CANNOT BE DISCLAIMED, THEY ARE LIMITED TO
THIRTY (30) DAYS FROM THE DATE OF PURCHASE. WHEATSTONE
COPORATION IS NOT RESPONSIBLE FOR ELECTRICAL DAMAGE, LOSS OF
USE, INCONVENIENCE, DAMAGE TO OTHER PROPERTY, OR ANY OTHER IN-
CIDENTAL OR CONSEQUENTIAL, WHETHER DIRECT OR INDIRECT, AND
WHETHER ARISING IN CONTRACT, TORT, OR OTHERWISE. NO REPRE-
SENTATIVES, DEALERS, OR WHEATSTONE PERSONNEL ARE AUTHORIZED
TO MAKE ANY WARRANTIES, REPRESENTATIONS, OR GUARANTIESS OTH-
ER THAN THOSE EXPRESSLY STATED HEREIN.

10
2 – DMX HARDWARE INSTALLATION
ach DMX Surface is 17” (43.2 cm) deep and 4 1/4" (11 cm)
tall. The DMX-8 Surface is 17 5/8" (45 cm) wide. The DMX-
16 Surface is 29 5/8” (75.3 cm) wide.
The PR&E Mix Engine (1RU) mounts within the studio
cabinetry below the Surface location. Install a 1RU blank panel, or mount
the Mix Engine at the top of the rack, to ensure adequate ventilation. All
DMX components are convection cooled so they can be mounted into any
studio, including ones with active microphones, without adding any
environmental noises. When locating the Surface and Engine, avoid close
proximity to devices which generate electromagnetic fields, such as large
power transformers, motors, and audio amps using switching supplies.
LOCATING THE DMX COMPONENTS
The DMX Surface is designed to set on top of the studio furniture
countertop with the front of its palm rest sitting between six and twelve
inches (15 to 30 cm) from the edge of the countertop (Figure 2-1). This
“setback space” allows keyboards and mice, a VoxPro controller, copy, log
sheets, etc. to be placed in front of the console.
The PR&E Mix Engine (1 RU) is rack mounted in a 19” rack below the
countertop. It’s typically located near the top of a rack close to the DMX
Surface. There are no controls on the front panel, but there are four status
LEDs on the front to indicate Engine status. The Engine’s rear panel must
be easily accessible since that’s where the audio, logic, and network
connections for the DMX console are made. We recommend adding a 1RU
blank or vent panel above the Mix Engine to ensure adequate ventilation.
With a DMX-8 Surface, a 16-foot locking DC cable (included) connects
the Surface to the PWR OUT jack on the back of the Mix Engine. This
constrains where the Mix Engine can physically be located since the DC
cable must not be under strain when connected between the Surface and
Mix Engine.
The DMX-16 Surface uses an in-line DC supply with captive DC cable and
an IEC AC cord. An isolated AC outlet must be located below the
countertop to allow the six-foot DC cable to plug into the Surface and the
six-foot AC cord to plug into an AC outlet.
Note: The DMX-16 DC supply (Wheatstone p/n 980064) can
power a DMX-8 Surface if the Surface must be located more than
15 feet from where the Mix Engine is mounted.
The Surface requires a straight-thru category cable (customer-
supplied CAT5e or CAT6 cable) to connect the Surface to Port 4 on the
Mix Engine’s rear panel Ethernet switch.
The DMX Surface is typically just set onto the countertop since its weight
(16 lbs for DMX-8, 26 lbs for DMX-16) and four large rubber feet should
hold it in place. However, if the Surface must be fastened to the
countertop for security reasons, a step-by-step procedure is listed in the
section Fastening the Surface to the Countertop, on page 11.
Figure 2-1 DMX-8 Surface, Countertop Positioning
For the cleanest installation, we recommend drilling a one to two inch
cable access hole through the countertop below the Surface’s position.
Only the customer-supplied CAT5e/CAT6 cable and the DC power cable
and connector pass through this hole so hole size is not critical. The hole
could be sized to match an available hole grommet or it could be left raw
since it’ll be covered by the Surface.
1. Position the Surface on the countertop so that the palm rest is
parallel to the countertop edge and is setback the desired amount
(typically, between six and twelve inches).
E

11
2. Use a pencil to mark the countertop at the center of the front edge
of the palm rest (for the DMX-8, this is the center line between
fader channels 5 and 6, as shown in Figure 2-1).
3. Move the Surface out of the way and mark a point 13” behind the
palm rest mark, perpendicular to the countertop edge. This marks
where the one to two inch cable access hole will be drilled.
4. Drill the cable access hole through the countertop.
Surface Placement & Cable Connections
Before setting the Surface back into position, remove the upper rear
cosmetic cover by removing the black #1 Phillips screws. The top of the
cover fits into a slot in the Meter Bridge top cover, so it may have to be
pulled down slightly to remove it from the slot. When removed, the
network host board, with the DC power jack and RJ45 Ethernet jack,
shown in Figure 2-2, is revealed.
Figure 2-2 Surface rear view (upper rear cover removed)
Route the DC and CAT5e cables up through the countertop hole and
through the two lower chassis access holes (Fig 2-2). Plug and latch the
CAT5e cable into the RJ45 Ethernet connector. Plug the DC cable into the
DC power jack, tightening its housing onto the threaded jack. Reattach
the upper rear cover then set the Surface into position on the countertop.
On a DMX-8 Surface, route both the DC and CAT5e cables to the back of
the Mix Engine (Figure 2-3). Plug the CAT5e cable into Port 4 on the built-
in ETHERNET switch. On a DMX-8 Surface plug the DC cable into the
PWR OUT jack, tightening its housing onto the threaded jack.
On a DMX-16 Surface, route the CAT5e cable to the Engine and plug it
into Port 4on the ETHERNET switch. Plug the in-line DC power supply’s
IEC AC cord into an isolated AC outlet.
If not connected already, connect the short blue CAT5 cable (supplied
with the console) from the ETHERNET jack to Port 5 on the ETHERNET
switch, as shown in Figure 2-3
Figure 2-3 Mix Engine, Rear Panel Partial View,
Ethernet and DC Power Connections
Fastening the Surface to the Countertop
If the Surface must be fastened to the countertop for security reasons,
the two front feet from the chassis must be removed. The Surface’s
control panel (identified in Figure 2-1) must also be removed. Two long #6
screws with oversize washers and lock washers are required. The screw
length must extend through the countertop, from below, and through the
two front feet with just enough thread left to fasten to the chassis. These
two screws must not extend over ¼” through the chassis when tight, to
avoid contacting the control panel circuit board or ribbon cable.
The cable access hole must already have been drilled (per the steps
starting on page 10) and the two Surface cables must have been run
through the hole and plugged into the Surface. The Surface must be
unpowered during this procedure.
1. Unscrew the two front feet. Retain the two #6 screws, lock
washers, and flat washers for possible future reuse.
2. Remove all of the hex head screws, using a 1/16” hex driver, from
around the control panel. Lift it up just enough to unplug the
ribbon cable(s): one cable on a DMX-8, two cables on a DMX-16.
Set the control panel aside.
3. Set the Surface into position and mark the countertop through the
front two feet’s mounting holes using a pencil, the 1/16” hex
driver, or a thin center punch.
4. Move the Surface aside and drill two 3/16” holes completely
through the countertop.
5. This step requires two people. One person inserts and holds the
two long #6 screws (with lock washers and oversize washers)
through the countertop from below (with the appropriate
screwdriver for the two screws).
A second person sets the two feet onto the screws then aligns the
Surface over the two screws, holding it in position while the two
long #6 screws are tightened. Make sure the Surface remains

12
parallel with the countertop edge while tightening the two screws.
Do not overly compress the two rubber feet and verify the two
screws do not protrude over ¼” through the chassis.
6. Set the back edge of the control panel onto the Surface chassis
and plug in the ribbon cable(s). Set the control panel back down
onto the chassis and reinstall the hex-head screws.
PR&E MIX ENGINE CONNECTIONS
To facilitate wiring the PR&E Mix Engine, create a wire list, listing all
connections to and from peripheral devices. Identify and create labels for
each end of each audio, logic, and network cable. List these connections in
a master facility wiring logbook to ease installation, future system wiring
and equipment changes, and system troubleshooting.
Audio cabling to and from the Mix Engine should always be run with the
maximum practical distance from all AC mains wiring. The Surface’s power
cable only carries DC voltage, so audio wiring can run parallel to or even
be tie wrapped with this cable without problem.
All line level analog audio, AES/EBU, and logic signals are on the Mix
Engine and use RJ45 jacks. Pin out signal lists, and the standard category
wire colors used for the analog and digital audio connectors and the Logic
connector are shown in Figure 2-4.
Figure 2-4 Audio & Logic RJ45 Pin Outs & Signals
For most applications, either shielded twisted pair (STP) or unshielded
twisted pair (UTP) wiring can be used interchangeably. When crimping
your own CAT5 cables, UTP has an advantage because it’s a lot easier to
crimp than STP wiring. To simplify audio wiring, standard length straight-
thru CAT5 cables can be used along with RJ45 Audio Adapters to connect
to peripheral devices.
StudioHub, and other vendors, have a wide variety of RJ45 Audio
Adapters, most of which are carried by Wheatstone and PR&E dealers. For
more information about what adapters are available, and about
StudioHub+ wiring practices, refer to the StudioHub adapter web page:
http://www.studiohub.com/adapterdonglessplitterscouplers.php
To simplify logic wiring, various GPIO Interfaces for WheatNet-IP Logic
connectors are available from NotaBotYet (www.notabotyet.com). Each
breaks out the six GPIO connections from the Mix Engine or Razor RJ45
Logic jacks to screw terminals so that “old school” hardware-wired
peripherals, like warning lights and hot mic LEDs, can easily be connected.
When RJ45-to-audio and RJ45-to-logic adapters are used, generic pre-
made straight-thru CAT5 cables, with RJ45 plugs on each end, can be used
to quickly connect the Mix Engine and Razor I/O Interfaces to the audio
and logic connections on peripheral devices.
When wiring directly from an RJ45 jack on the Mix Engine or Razor to
individual XLR, TRS, or other audio connectors, single-pair UTP (DataMax
5100 or similar) can be used to wire an AES or mono analog connection.
Dual-pair UTP (DataMax 5200 or similar) can be used for wiring to stereo
connections when a single connector (like a D-Sub) is used on the
peripheral device.
When wiring to a stereo analog device with two connectors use two
single-pair UTP wires connected to a common RJ45 to cleanly connect the
two audio connectors. Alternately, when breaking out the two wire pairs
from a single CAT5 cable to go to two audio connectors, place shrink
tubing over each wire pair then shrink tube those and the end of the CAT5
jacket to create a reliable, and clean looking, connection.
The exception to the practice of using UTP cable is for the microphone
cables that plug into the female XLR connectors on the Engine, Razor 16A,
and M4IP-USB. These must use shielded analog wiring specifically
designed for low-level balanced signals. Room monitor outputs that
connect to self-powered monitor speakers may also need to use shielded
cable, with the shield terminated at the monitor speaker end, since there
is no shield connection on the Mix Engine’s RJ45 jacks.
Note: The StudioHub+ wiring convention specifies pin 4 as DC
Ground to support POE (Power over Ethernet). The Mix Engine and
Razor RJ45 connectors do not tie pin 4 (the blue CAT5 wire) to
ground since neither product supports POE. Thus, a ground
connection can only be made at the peripheral device end. If the
peripheral device has an unbalanced input with a Tip-Sleeve or
RCA connector, an audio balun transformer (balanced:
unbalanced) or a signal matchbox must be used.
All Mix Engine analog line-level inputs and outputs are intended to
connect balanced +4 dBu signals using only the plus (+) and minus (-)
signals from the peripherals to connect to the + and - terminals on the
RJ45 plugs (as listed in Figure 2-4).
Unbalanced device outputs can directly connect to DMX analog inputs
by connecting the low (-) signal wires (pin 2, ORG, and/or pin 6, GRN) to
GND on the unbalanced device. Connect the hot wire (the unbalanced +
signal) to the WHT/ORG and/or WHT/GRN wires (terminals 1 and 3). Since
the unbalanced device will have a very low output level—as compared to a

13
balanced signal, use the PR&E Navigator Device > Sources tab to adjust
the input gain. Any DMX input can be increased by up to +18 dB.
When DMX analog outputs need to connect to unbalanced devices, a
matchbox or an audio balun transformer (balanced:unbalanced) must be
used. You can, alternately, connect the + wires (the WHT/ORG and/or
WHT/GRN wires on terminals 1 and 3) to the unbalanced device directly,
but the ground wire from the unbalanced device must be broken out of the
wiring and connected to the Mix Engine or Razor chassis in order to
connect it to ground. One way to do this would be to connect a small
spade lug and ground wire to the Phillips screw on a MIC XLR connector.
Note: On an output, do not ground the two low (-) signals (the
ORG and GRN wires on terminals 2 and 6) at the unbalanced
device in an attempt to connect an unbalanced device directly to a
Mix Engine or Razor output. This can cause phase issues and
crosstalk, and could lead to component failure since this effectively
shorts an active op amp output to ground.
Ethernet Connections
Ethernet network wiring also uses RJ45 jacks but, because a PRE-IP
network is running at 1000Base-T (1 Gigabit or 1 GB) for the most reliable
network operation only CAT5e or CAT6 cabling should be used.
For a short connection, like connecting the PR&E Mix Engine to Port 5
on the Ethernet switch (Figure 2-3 on page 11), CAT5 cable can be used
but all longer cable runs must use either CAT5e or CAT6 cabling.
Ports 1, 2, and 3on the five-port Gigabit Ethernet switch are available
to connect an “admin PC” with the PR&E applications installed on it. This
PC will not need to remain connected during normal use unless PR&E
Navigator is used to control signal connections. Alternately, if a VoxPro or
other audio editor PC is networked with the DMX, the PR&E apps can be
installed on that PC (it would then be termed the admin PC). The other
two switch ports are available to network a WNIP-compatible media
server, and/or a Razor I/O Interface or an M4IP-USB Blade.
Port 1 can alternately connect the DMX to an AoIP switch to network
the DMX with additional DMX and EMX consoles, Razor I/O Interfaces,
M4IP-USB Blades, and WNIP-compatible media severs to create a large
PRE-IP network. See Appendix A for details on PRE-IP network expansion.
DMX POWER UP
The PR&E Mix Engine, the Razor I/O Interfaces, and M4IP-USB Blades
do not have power switches since all are designed for continuous 24/7
operation. They are designed to work with AC mains supplying 90 - 240
VAC @ 50 or 60 Hz. For the most reliable operation, all DMX components
should only plug into isolated ground circuits (orange outlets in the USA)
which are on a UPS (Uninterruptible Power Supply).
When AC power is first applied, it takes about 90 seconds for each DMX
device to boot up, connect to the PRE-IP network, and be ready for use. If
the DMX-16 Surface is powered up without being connected to its Mix
Engine, or if the Mix Engine itself is not powered, the meter bridge level
displays’ peak LEDs will scan across all meters to visually indicate the
Surface is not communicating with its Mix Engine. Once the Surface and
Mix Engine are properly connected via Ethernet, the meters’ LEDs stop
scanning.
When power is first applied to the Mix Engine, the rear panel green On
LED (next to the Ethernet switch) lights up first. This is followed by the
green LEDs blinking on active Ethernet switch ports. Note that the Surface
Ethernet jack only blinks one LED since it communicates at 100Base-T.
The Mix Engine and Razor ports will have both green LEDs blinking since
they communicate at 1000Base-T. A networked PC will also only blink one
LED when its NIC does not support 1GB speeds.
The front panel LINK LED (Figure 2-5) lights up solid when the Mix
Engine’s Ethernet jack is connected to port 5 of the Ethernet switch. On a
stand-alone DMX, the other two front panel green LEDs: ROUTE MSTR
(Route Master) and CLOCK MSTR (Clock Master) also light up solid—after
about 90 seconds, indicating the Mix Engine is ready for use.
When a new DMX is networked with existing EMX and DMX consoles, the
new PR&E Mix Engine may not be designated as a master, thus its ROUTE
MSTR and CLOCK MSTR LEDs could both be off. This simply indicates
there’s other networked Mix Engines in the PRE-IP network which are set
as the Route Master or Clock Master. With multiple Mix Engines, one Mix
Engine is designated as the Route Master while a second one is designated
as the Clock Master.
Figure 2-5 Engine Front Panel Status LEDs
If the red ERROR LED should light, it indicates an error condition has
occurred in the Mix Engine. To reset this error, first try rebooting the Mix
Engine using PR&E Navigator. If the red LED remains lit, power cycle the
Mix Engine (unplug the AC cord from the Mix Engine, wait five seconds
then plug the AC cord back in).
If the red Error LED lights up again after it restarts it indicates a serious
fault in the Mix Engine which will require service. Contact Wheatstone
technical support for assistance. See Chapter 5 (page 58) for information
on obtaining service and support for your DMX console.

14
CHECKING OUT THE DMX FEATURES
With the Mix Engine and DMX Surface both powered up and connected
to the built-in Ethernet switch, on a stand-alone DMX all three green LEDs
on the Engine’s front panel (Figure 2-5 on page 13) will be lit. The Surface
should appear as shown in Figure 1-1 on page 5, but without any meter
displays since there’s no audio connected to the console yet!
Note: Figure 4-2, on page 46, identifies each fader channel control
and Figure 4-4, on page 49, identifies each monitor control.
On Fader Channel 3, with the channel turned off, rotate the Channel
Encoder. That channel’s display switches to show a list of source names
with one name highlighted (Figure 2-6). The name shown above the white
line (Blade01 in Figure 2-6) lists the name of the system device with that
highlighted source (Blade01 is the default name for the PR&E Mix Engine).
Figure 2-6 Selecting a Channel Source
Rotate the encoder clockwise to move the highlighting down the
alphanumeric list of names. Rotate the encoder counter-clockwise (CCW)
to move the highlighting up through the names. The names wrap to
present a continuous list. NoSource, which appears at the top of the list, is
a good way to identify when the names have wrapped around.
Every physical input on the DMX Engine has a signal name of up to eight
characters. The default names all start with BL, for Blade, followed by that
Blade’s ID number (1 is the default ID number for the PR&E Mix Engine).
The default names end with a signal number, like S02, to identify the
physical connection on the Mix Engine and optional Razor I/O Interface.
All DMX inputs are set for stereo—except for Analog Input 1, which is
set as dual mono, with BL01MIC1 and BL01MIC2 set as its source names.
The remaining Analog inputs are: BL001S02; BL001S03; and BL001S04.
The four AES inputs’ default names are BL001S05 thru BL001S08. These
numbers match the jack numbers listed on the Mix Engine’s rear panel.
Analog input 1 is designed to jumper to MICS OUT so the two mic
preamps can be used without having to change any settings. If the built-in
mic preamps are not used, Analog Input 1 can be reset to a stereo input
using PR&E Navigator (see page 38, Changing the Signal Type section).
After the Mix Engine’s physical input signal names you’ll see the internal
signals within the DMX. Many, if not most, of these signals are typically
not set as “visible” on fader channels, but on a new console all signals are
set as visible to ease installing and configuring the DMX. Setting signal
visibility is covered in the Visibilities Page Tab section starting on page 29.
Rotate the channel 3 encoder until BL001S02 is highlighted as shown in
Figure 2-6. Press once on the channel encoder to select that signal. This is
called “clicking” the encoder–just like clicking a PC mouse button. The
highlighted signal is now connected to that fader channel and BL001S02 is
shown, in green, in the middle of the channel 3’s display (Figure 2-7).
Note that in the normal displays the space above the white line is used
to show when cue, equalization, and dynamics are active on that channel.
When cue is active, CUE is shown in the middle of this area. Icons for the
High Pass and/or Low Pass Filters are shown when they’re active. EQ (for
Equalization) and DYN (for Dynamics) are shown when they’re active on a
channel. From the factory, mic processing is loaded into channels 1 and 2,
and is turned on, hence the EQ and DYN indications on those two fader
channels.
Figure 2-7 Displays for Channels 1, 2, and 3
Below the source name, in orange, is the channel’s mode setting. The
default setting for every channel is STEREO (mono signals like mics are fed
to both left and right channels by default).
To either side of the mode name are icons to indicate source status. On
the right side a lock icon indicates that source’s LIO status (logic control
status) by color when the channel is turned on. On the left side—if the
channel source is identified as a mic, there’s a mic icon which turns red
while that channel is turned on.
Advanced Channel Features
Each channel has three Advanced Channel Features: Mode,Pan,and
EQ & Dynamics, which are accessed by “double-clicking” or quickly
pressing twice on the channel encoder. The advanced features are all
unlocked when the DMX ships from the factory.
“Double-click” the channel 3 encoder (tap it twice quickly). Mode now
appears above the white line. Rotating the encoder, while Mode is shown
in the display, steps through the four audio modes (Right, Left, Mono, and
Stereo). Make sure STEREO is shown then double-click the encoder again.
Now Pan is shown above the white line. Rotating the encoder now pans
or balances the signal to the left or right of center. Readjust the encoder
so CENTER is shown then double-click the encoder again.
The displays on channels 1 -8 switch to show the EQ & Dynamics
control screens. The initial display screens set whether EQ & Dynamics are
turned on (set In) or off (set Out) on that channel. Additional screens are

15
displayed to adjust the EQ & Dynamics settings. On fader channels 1 and
2, both EQ and Dynamics are set In by default, for “light mic processing,”
since these channels are typically assigned to the Host and Guest mics.
The rest of the fader channels do not have any EQ or Dynamics settings
applied. Refer to the Chapter 4 section, EQ & Dynamics, starting on page
51, about how to: set EQ and Dynamics in/out; how to adjust their
settings; how to save the EQ & Dynamics settings on any channel; and
how to recall previously saved settings to any channel.
For now, double-click the channel encoder again. The eight channels
switch to their normal displays showing their current source names.
Note: The Mode, Pan, and EQ & Dynamics controls should be
selectively locked out from board operator access prior to releasing
the console for daily use. This is done using the Talent Access page
tab in the DMX Surface Setup app (page 23).
Connecting Audio
To understand the audio connections and DMX Surface features, connect
a stereo analog audio signal (like a +4 dBu test tone or a CD player) to the
ANALOG 2 IN jack on the Mix Engine (Figure 2-9 on page 16 shows the
Mix Engine jacks) using wiring that follows the StudioHub+ wiring protocol
(Figure 2-4 on page 12). This audio input is named BL001S02, which was
set as the Channel 3 source in the previous section.
Assign channel 3 to PGM 1,PGM 2,PGM 3, and PGM 4 (light up all
four assignment buttons). Set the channel fader so the middle line on the
fader knob aligns with the two arrows at the -12 dB position. This sets that
channel for unity gain through the console.
Turn Channel 3 on by pressing and releasing the On button directly
below that channel’s display. The button turns red indicating that
BL001S02 is now connected to the assigned Program buses.
If the input is a +4 dBu test tone, then all of the green meter segments
will light, along with the first yellow segment, which indicates -20 dbFS
(dBFS = deciBels below Full Scale). This is equivalent to 0 VU on an analog
VU meter. The Program 1 and Program 2 meters should show this
level. The Switched meter will also show this level by pressing Meter
PGM 3 or Meter PGM 4 in the monitor section of the control surface.
Connecting an analog test set to each of the four PGM ANALOG outputs
will confirm each is putting out +4 dBu. Connecting a digital test set to the
four PGM DIGITAL outputs (they have the same signals as the four analog
jacks) will confirm each is putting out -20 dbFS. The default sources
connected to the PGM outputs are the PGM 1 to PGM 4 buses, but an
alternate source can be connected to any of these four stereo-only outputs
using PR&E Navigator’s Crosspoint grid to change their connection.
To check how the four analog monitor outputs (the four OUT jacks) work
connect a test set or a powered monitor speaker with a balanced input, to
the CR Out jack. In the left column of the monitor section, select PGM 1
as the monitor source for the Control Room. DMX PGM1 is shown in the
left monitor display (Figure 2-8). Use the CR encoder to adjust the
volume of CR Out. Its relative output level is indicated in the bottom bar
graph, with the speaker icon, in the left monitor display.
Move the test output to the HDPN Out jack. Its output level, and the
DMX Surface’s headphone jack level, is adjusted using the HDPN
encoder. Its level is indicated in the bottom bar graph in the right display
with the headphone icon. It uses the same monitor source as CR Out.
Move the test output to the STU Out jack. Its current monitor source is
shown in the right-hand display. NoSource appears in the right-hand
display from the factory. To set a source for the Studio, press/hold (for
three seconds) the EXT button just above the Studio encoder. The button
blinks and a list of source names appear in the right-hand display. Rotate
the Studio encoder to highlight DMX PGM1 then click the Studio encoder
to assign that source to the EXT button. The EXT button lights up solid and
DMX PGM1, now set as the Studio monitor source, is shown in the right
monitor display.
The Studio encoder is also used to adjust the STU Out volume, when not
selecting monitor sources. The studio monitor level is indicated by the
upper bar graph in the right display with the speaker icon.
Figure 2-8 Monitor Displays Show the Monitor Output Levels
Move the test output to the CUE Out jack. Press Cue on channel 3 (it
lights and CUE is shown in the channel display) then use the Cue encoder
to adjust the cue volume. The upper bar graph in the left display, with a C,
indicates the cue output level. Note that even though this is a “stereo”
output, the DMX cue system is a mono sum of the input signal.
By following the steps covered in the Checking Out the DMX
Features section you should now have a good understanding of
how to connect audio into and out of the Mix Engine and how to
use the DMX Surface controls. The rest of this chapter goes over
more specific details about the audio and logic jacks on the Mix
Engine and Razor I/O Interface.
Chapter 3 (beginning on page 20) covers how to install and use
the supplied PR&E apps (DMX Surface Setup, PR&E Navigator, and
the PR&E System Configuration Tool) to name the DMX signals and
configure the console for your specific application.

16
PR&E MIX ENGINE SIGNAL NOTES
This section covers the PR&E Mix Engine connections and which PR&E
app is used to configure that signal or connection. Figure 2-9 details the
audio and logic jacks on the back of the Mix Engine.
Figure 2-9 Mix Engine, rear panel, RJ45 Audio & Logic Jacks
Mic Preamps – There are two microphone preamps in the Mix Engine
with female XLR jacks. One or two, dynamic or condenser, mics can be
plugged into these low-noise preamps in order to boost the mics up to line
level. The two mics are typically assigned to fader channels 1 and 2, which
have factory-set EQ and Dynamics Processing already applied, so having
to use external mic processors is not required with the DMX. If additional
mic preamps are needed, each Razor 16A I/O Interface has two mic
preamps and each M4IP-USB Blade has four SQ mic preamps along with
Vorsis mic processing, four USB ports, and local analog and AES outputs
for headphone and studio monitors or recording outputs.
Each Mix Engine preamp has an input trim control and a 48-volt
phantom power switch. Set the phantom switch on to power condenser
mics. A yellow LED lights to show phantom power is active. For dynamic
mics, like an RE-27, set the phantom power switch to off (LED off).
The trim level, if it needs adjustment, is made after the console is wired
up since it requires the mic to be assigned to a fader channel so its level
can be seen on the meters and it can be listened to. Typically, the trim
level is adjusted with the channel fader set to unity gain. With the talent
speaking at their normal “radio voice level” adjust the trim pot so the top
of their average bar graph signal is around -20 dB FSD or their peaks are
bouncing around -8 dB dBFS on the Program meters. If you want to add
EQ and Dynamics Processing, you would do so after the mic preamp gain
trim is properly adjusted.
MICS OUT – This jack has the line level outputs from both mic preamps:
Mic Preamp 1 is “left” and Mic Preamp 2 is “right.” Connect a short
straight-thru CAT5 cable from MICS OUT to ANALOG IN 1 since that
input is preset for two mono mic signals rather than for a stereo signal as
are all other Mix Engine inputs.
LOGIC - The Mix Engine and Razor I/O Interfaces each have one RJ45
Logic jack for connecting logic to non-IP external devices like a Henry
warning light interface or a CD player. Each Logic jack has six LIO logic
ports (on pins 2–7) plus ground (on pin 1) and +5 volts (on pin 8). Each
logic port is independently assigned, using PR&E Navigator, to set it as
either a logic output (e.g., as an On Tally, Studio In Use tally, Start Pulse,
etc.) or as a logic input (e.g., for Channel On, Channel Off, Cue, etc.).
Each Blade (PR&E Mix Engine, Razor, and M4IP-USB) also has 128 Soft
LIO (SLIO) logic signals that can be used with WNIP-compatible devices,
like talent stations and media servers, for bi-directional command and
control of the DMX console over Ethernet. SLIO signals are also assigned
using PR&E Navigator as either an input or an output. See Assigning Logic
(starting on page 40) for details on assigning both LIO and SLIO logic.
ANALOG IN - All analog inputs are designed for balanced +4 dBu signals,
but unbalanced -10 dBv signals can also be connected—without needing a
match box, since each input has input gain and balance controls in PR&E
Navigator (see Level & Balance Controls on page 39).
Inputs are labeled as ANALOG IN 1-4 on the Mix Engine. They are
assigned these default names: BL01MIC1 (input 1 left), BL01MIC2 (input 1
right), BL001S02 (input 2), BL001S03 (input 3), and BL001S04 (input 4)
in the DMX signal lists. Inputs 2, 3, and 4 can also be separated into two
mono inputs (see Changing the Signal Type on page 38) to allow two
independent mono signals, like a pair of phone hybrids, to connect to one
RJ45 jack.
DIGITAL IN – The four digital inputs are designed for stereo differential
AES/EBU (AES3) signals which, in most cases, can alternately have an
unbalanced S/PDIF digital signal connected. These jacks are labeled as
DIGITAL IN 5–8 on the Mix Engine. Their default names are BL001S05 –
BL001S08 in the signal lists. They have the same gain/balance controls in
PR&E Navigator as the analog signals and any AES/EBU input can also be
split into two mono signals for connecting digital phone systems.
Note: Digital In 8 can also be used as a Sync Reference input to
synchronize the DMX to an external sample clock signal.
PGM OUTPUTS – There are eight PGM Outputs (four stereo balanced
analog and four AES/EBU) which, by default, connect to the PGM 1 – PGM
4 buses. In the PR&E Navigator Crosspoint Grid these four destinations are
named CB01PGMA – CB01PGMD. A different source can be connected to
any of these destinations but note that these outputs cannot be split for
dual mono out operation and the same signal is applied to both the analog
and AES/EBU outputs. If you change the source on any PGM output,
uncheck the DMX Surface Setup option Use Default Signal Mapping
(Input/Output on page 23) since that option reconnects the four PGM
buses to the four PGM outputs if the Mix Engine is rebooted or powered.
Note: The four AES/EBU outputs can only connect to balanced
AES/EBU inputs. Connecting them to unbalanced S/PDIF inputs will
not work. A signal translator is required.

17
MONITOR OUTPUTS – The default sources connected to the four stereo
analog outputs (CUE, CR, STU, HDPN) are: DMX CUE; DMX CR; DMX Stu;
and DMXHdpn. Normally the four monitor level controls (CUE, CR,
STUDIO, and HDPN) control the levels of these monitor outputs (their
default destination names are: CB01CUE; CB01CR; CB01STU; and
CB01HDPN in the PR&E Navigator Crosspoint grid). But when an alternate
source is connected the Surface control no longer affects that output. If
any alternate source is connected be sure to uncheck Use Default Signal
Mapping in the DMX Surface Setup app to maintain that new source.
CR OUT is normally connected to powered Control Room monitor
speakers, while CUE OUT is normally connected to one or two powered
cue speakers, so they are not often connected to an alternate source. If
there is no associated talk studio, the STU OUT jack could connect to a
hybrid and call recorder, an air skimmer, an internet streamer, or other
device. Likewise, the HDPN OUT jack, if it doesn’t need to connect to an
outboard headphone amp, could connect to an alternate source for
another stereo analog line output from the Mix Engine.
Note: The built-in ¼” headphone jack, on the right side of
Surface, is destination DMXHdpn, so it is not affected if the HDPN
OUT jack on the Mix Engine is connected to an alternate source.
ADDITIONAL DMX FEATURES
This section covers other DMX Surface operational features including
how to use the PGM 4 assignment buttons as Off Line bus select buttons
and how to assign sources to the user-set buttons in the monitor control
section. Other topics covered include: gain trim and balance control on the
inputs and outputs; setting mic and monitor muting; and using Telco
devices with the DMX console.
Callers & Remotes
Callers and remotes are commonly called Telco devices since each has a
From Network audio signal (the audio from the caller or remote) and a To
Network audio signal (called the mix-minus signal) which is sent back to
the Telco device so the caller/remote can hear the board operator or hear
the on-air signal—but always minus their own From Network audio.
The To Network audio signal is typically derived from the Telco channel’s
bus-minus signal which is manually connected to the hybrid or codec using
the crosspoint grid in PR&E Navigator or automatically connected by using
Associated Connections (each method is covered in Chapter 3).
When using callers and remotes on the DMX, the PGM 4 bus assign
buttons serve double-duty as Off Line (OL) bus assign buttons. The Off
Line bus is solely used to create the To Network signal for a phone caller
or remote while they are not on-air (i.e., their channel is turned off). When
the board operator and/or producer’s mics are assigned to PGM 4/OL
(which is also typically set for pre-switch and pre-fader operation), the
talent can carry on a hands-free conversation with the caller or remote.
When the caller or remote goes live, the To Network signal is the bus-
minus of the air signal (typically PGM 1) so that the caller/remote hears
everything else going to air, but always minus their own audio.
Selecting a Telco device as the channel source is what triggers the built-
in Auto Fold Back feature which automatically toggles the To Network
signal between the OL bus (used when the channel is off) and the on-air
PGM bus (used while their channel is turned on). This feature allows a
caller or remote to go live to air without the board operator having to
change any board settings. If the board operator needs to talk to the caller
or remote while they’re live, pressing the TB button overrides the PGM
bus-minus audio sending their mic to that caller or remote.
When a caller or a remote is assigned to a dedicated fader channel,
setting up their To Network signal is simple: that fader channel’s bus-
minus signal is connected (typically using PR&E Navigator’s Crosspoint
Grid) to the phone hybrid or codec output from the Mix Engine or Razor.
When callers (or more likely remotes) are set visible on multiple fader
channels things get more complicated since their mix-minus signal, which
is derived from the bus-minus signal of the channel the caller or remote is
on, also has to be changed to be from whatever channel they are on.
Fortunately, the PR&E Navigator Associated Connections feature allows a
“trigger condition” to be set up for the system to monitor: like a codec
being dialed up on fader channel 15. When that trigger condition is
detected the system responds by connecting, in this example, the fader 15
bus-minus signal to that codec’s output.
Typically, an Associated Connection would be setup for each fader that a
codec is visible on so that no matter which channel the codec gets taken
on, the correct bus-minus signal will always be connected back to that
codec. Setting up Associated Connections is covered in the Creating and
Using Associate Connections section on page 41.
Using the Off Line Bus
Because the DMX Surface does not have dedicated Off Line bus
assignment buttons, the PGM 4 bus assign buttons can be setup to
function as Off Line assign buttons using the DMX Surface Setup app (see
the PGM 4 / Off Line Options section on page 26).
When this is done, the board operator mic channel is assigned to the OL
bus (its PGM 4 button is lit). When the caller/remote channel is off, and
assigned to cue, the board operator can hear the caller/remote in the cue
speakers (or their headphones) and the caller/remote can hear the talent
using their mic, to allow for a hands-free conversation.
If a Host or call screener also need to talk to the caller/remote then their
mic channels would also be assigned to PGM 4. They would then talk to
the caller using their mics and hear the caller through the cue speaker.

18
Telco Device Connections
Each caller/remote device’s From Network signal typically connects to a
Razor analog or digital input with two devices sharing a common RJ45 jack
input, which is set for two mono signals rather than one stereo signal.
A Razor mono analog or digital output is then connected to the To
Network input on the caller/remote device. The caller/remote output is
connected, in PR&E Navigator’s Crosspoint grid, to the bus-minus signal
for the channel that the caller/remote is using. See the note on the next
page regarding mono vs. stereo signals on Razor I/O Interfaces.
Signal Gain & Balance Adjustments
PR&E Navigator has level controls for every physical input and output on
the Mix Engine and Razor (see Level & Balance Controls on page 39). Up
to 18 dB of gain, or 18 dB of trim, from unity gain (0 dB), can be applied
in real time to the audio. Viewing and adjusting the level controls for the
inputs is done in the Blade > Sources tab for each Blade. The outputs are
viewed and adjusted in the Blade > Destinations tab for each Blade.
Monitor Muting & Hot Mic Logic
Although any signal can be set to mute the monitor outputs, typically
only mics are set to mute outputs. For Control Room mics you’ll want to
mute the CR and CUE outputs, unless Cue only feeds the studio, in which
case the Studio mics would be set to mute the STU and CUE outputs.
These settings are made using the DMX Surface Setupapp’s VDips page
tab (details on using the VDips Page Tab is on page 25).
Setting Monitor & Meter Button Sources
The DMX Surface’s monitor section, at the right end of the Surface, has
two columns of controls (see Figure 4-4, page 49). The left column (CR)
has the meter and Control Room monitor controls; the right column
(Studio) has the Events, Timer, and Studio monitor controls. There are
also four user-set source selectors (Meter EXT, CR EXT 1 and EXT 2, and
Studio EXT) plus a user-set Soft button which can be assigned for a
number of different functions, from simple (being set as a talk-to-producer
button or as a remote door lock/unlock button) to complex (taking a salvo
to setup certain channels for a specific function like voice tracking).
To assign a source to the Meter EXT, or to the CR Monitor EXT 1 or
EXT 2 buttons, press/hold that button for three seconds (until the button
begins to blink). The left monitor display switches to show the source
names available to be assigned to that button. Highlight the desired name
using the Cue/Source encoder and then click the encoder to assign the
highlighted source to that button.
Two sources can be assigned to the Studio EXT button: one is selected
when lit and the other is selected when it’s unlit. Press/hold the unlit EXT
button, until it blinks, to set the unlit button source. Press/hold the lit EXT
button, until it blinks, to set the lit button source. In each case the right
monitor display switches to show the available source names that can be
assigned. Use the Studio encoder to highlight a source name then click the
Studio encoder to assign that source.
You can also select a studio monitor “on-the-fly” source by press/holding
the studio encoder, for about three seconds, until the list of visible source
names appears in the right-hand monitor display. Highlighted the desired
source then click the Studio encoder. The selected source is then shown in
red in the right monitor display.
The list of source names that can be assigned to the EXT buttons is set
using the DMX Surface Setup app’s Visibilities page tab(page 29).
Saving and Taking Events
The four Event buttons (Event 1 – Event 4) are used to both save and
take console events. A console “Save Event” saves the current settings for
all fader channels (including the Advanced Channel Feature settings) along
with the monitor panel sources and user-set button settings. Typically,
engineering saves the four events and then locks out the save function
from further use so that board operators can only take events.
To save an Event after the console is setup for a specific show or
daypart: press/hold the Event button you want to update. After about
three seconds the button begins blinking. Continue holding the button for
another couple seconds, until the button is lit solid, which indicates the
current status of every Surface control is now saved to that Event number.
Note the event number, and its console function or day part, and relay
that information to the board operators.
To take an Event press/hold an Event button until it begins to blink then
release the button. Tapping the blinking button then takes that event,
updating the DMX Surface settings. That Event button then is lit solid to
indicate it’s currently active.
Once the desired Events are saved use the DMX Surface Setup app’s
Talent Access page tab(page 23) to lock out the board operators from
overwriting the saved events by unchecking Allow Save Events.
Programming the Soft Button
The Soft button in the CR column in monitor controls can be assigned to:
take a salvo (to make multiple system connections simultaneously); make
a momentary connection (useful for talking to an external destination); be
an indicator, to show the hotline phone is ringing; or control a logic output
with button illumination (like a Dump button for a profanity delay unit with
the LED functioning as a safe indicator).
How the Soft button functions: as a tally only; as a toggle switch; or as
a momentary switch, is sent in the Buttons page tab in the DMX Surface
Setup app (page 28). What the button controls, and how the button’s LED
is controlled, is set in the PR&E Navigator app (the Assigning Logic section
starts on page 40).

19
RAZOR I/O INTERFACE NOTES
Each Razor has eighteen RJ45 connectors: eight have the audio inputs;
eight have the audio outputs; one has the Logic LIO; and one (Ethernet)
connects the Razor to a PR&E Mix Engine Ethernet switch port or to a
facility AoIP switch in a larger PRE-IP network.
On a Razor 16A, sixteen RJ45 connectors are used for the analog inputs
and outputs, each carrying two analog signals (stereo or dual mono). The
Razor 16A also has two built-in mic preamps, like the PR&E Mix Engine, so
it also has two female XLR Mic Inputsand one Mics Out RJ45 jack, which
is connected to an Analog Input using a short CAT5 patch cord. That input
would then need to be split into two mono inputs from its default stereo
setting using the PR&E Navigator (see Changing Signal Type on page 38
for details on splitting a stereo input or output into dual mono signals).
On the Razor 16D, the sixteen RJ45 inputs and outputs each carry one
stereo AES/EBU signal. Any input or output can also be split into two mono
signals in PR&E Navigator (page 38, Changing Signal Type).
On the Razor 16AD (rear panel shown in Figure 2-10) the first four
RJ45 jacks (IN 1–4) are stereo analog inputs. The remaining four RJ45 IN
jacks (IN 5–8) have four stereo AES/EBU inputs. The first four RJ45 OUT
jacks have the analog outputs (OUT 1–4) while the last four RJ45 jacks
(OUT 5–8) have the stereo AES/EBU signals.
Figure 2-10 Razor 16AD rear panel connections
Note: The Razor’s Ethernet AoIP jack has eight paired incoming
and eight paired outgoing audio streams. When a Razor input or
output is split into two mono signals, each mono signal consumes
one of the eight audio streams going into or out of the Razor. This
means that if four stereo inputs or outputs are split into eight
mono signals, and all of those mono signals are connected in PR&E
Navigator, the remaining four stereo inputs or outputs cannot be
used simultaneously because all eight audio streams would already
be consumed by the eight mono signals.
LOGIC - The RJ45 Logic connector is used to connect hard-wired logic to
external devices like warning light interfaces and tallies. Each Logic
connector is wired per Figure 2-4 on page 12. The logic connections are
configured using PR&E Navigator as either a logic input or output with an
assigned logic function (see Assigning Logic on page 40).
FRONT PANEL DISPLAY & CONTROL - The Razor has a front panel
OLED display and a rotary encoder (Figure 2-11). The encoder is used to
step through the four screens that can be displayed on the Razor. One
screen shows the levels for that Razor’s inputs. A second screen shows the
eight stereo output levels. The other two screens show technical details for
that Razor like its system name, IP address, MAC address, and version of
code that’s running on that Razor.
Figure 2-11 Razor front panel OLED and Encoder

20
3 – PR&E APPS AND CONSOLE CONFIGURATION
he DMX console’s factory-default configuration settings
allow it to be powered up and used straight out of the box.
To set up the console for your specific application the
default configuration settings are edited using the software
apps included on a USB flash drive that ships with the console. The apps
can also be downloaded from a Wheatstone file download site (contact
Wheatstone Tech Support for the links).
The PR&E software apps are installed on an admin PC running Windows
10, 8, 7, or even XP sp3. To communicate with the Mix Engine and DMX
Surface, this admin PC must be set for a fixed IP address in the
192.168.87.0 subnet. Even though the DMX can be changed to use
another Class C subnet, we recommend leaving the DMX set to the default
192.168.87.0 subnet.
Before setting the IP on the NIC connected to the DMX, connect the
admin PC to Port 1, 2, or 3on the Mix Engine’s built-in Ethernet switch
(see Figure 2-3, page 11). Then set the admin PC to 192.168.87.21 with
a subnet mask of 255.255.255.0. This puts it on the same subnet as the
PR&E Mix Engine (IP address = 192.168.87.101 & name = Blade01) and
the DMX Surface (IP address = 192.168.87.201 & name = Surf01).
To insure each PR&E app is properly installed right-click on the installer
icon, or on its file name, and select “Run as Administrator.” Accept the
default installation settings. If a previous version was installed, the
installer automatically uninstalls that version prior to installing the new
version. A shortcut icon is added to the desktop. In the Start menu, the
three PR&E apps can be found in the Wheatstone PR&E folder.
DMX SURFACE SETUP APP
The DMX Surface Setup app is one of the main apps used to
configure the DMX console (the other being PR&E Navigator).
Double-click its desktop icon, shown at right. The app opens
showing the Device Properties tab (Figure 3-1). Click on the
Locator tab to show it (Figure 3-2). The Locator tab lists every
DMX device connected to the Mix Engine’s Ethernet switch. For a
new DMX console only two devices will be shown: the Mix Engine and the
DMX Surface. (Figure 3-2 also shows that the admin PC has the WNIP
audio driver installed to play and record AoIP audio.)
If no devices are shown, confirm the admin PC, Mix Engine, and Surface
are all plugged into the Ethernet switch. Make sure the admin PC’s NIC is
set to the recommended settings. If the NIC was incorrectly assigned,
close the DMX Surface Setup app then use the admin PC’s Network Control
Panel to correct the settings, then restart the DMX Surface Setup app.
Figure 3-1 DMX Surface Setup, Default View
Figure 3-2 DMX Surface Setup, Locator Tab View
T