Wheatstone Corporation EMX User manual

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Networked AoIP Broadcast Console
Designed and built in the U.S.A.
by the Wheatstone Corporation

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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.
EMX User Manual (041299)
Revision History
A = Initial release, July 2018

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TABLE OF CONTENTS
Publication Information ...................................................................................2
Safety & Hazard/Warning Labels .....................................................................4
1 - Introducing the EMX Console ......................................................................5
EMX Overview ....................................................................................6
Specifications ...................................................................................8
Warranty Statement ...........................................................................10
FCC Compliance Statement ................................................................10
2 – EMX Hardware Installation .........................................................................11
Locating the EMX Components ...........................................................11
PR&E Mix Engine Connections ............................................................12
EMX Power Up ...................................................................................14
Checking Out the EMX Features...........................................................14
PR&E Mix Engine Signal Notes ............................................................17
Razor I/O Interface Notes ..................................................................19
3 – PR&E Apps and EMX Configuration .............................................................20
EMX Surface Setup App ......................................................................20
PR&E Navigator..................................................................................32
PR&E System Configuration Tool .........................................................44
Software Updates ..............................................................................45
4 – EMX Board Operations and EMX Applications ..............................................46
5 – EMX Service Information ............................................................................59
Appendix A – Creating a PRE-IP Network ...........................................................61

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1 – INTRODUCING THE EMX 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 quality products, documentation, and after-sale
support. To obtain maximum benefit from the EMX console’s capabilities,
please read through this introduction, along with Chapters 2 and 3, prior
to installing the EMX console.
For those in a hurry, there is an EMX Quick Guide which summarizes
the PR&E Mix Engine’s connections and EMX Surface controls.
Each EMX console has these main components:
The EMX Surface - Commonly referred to as the “console” has all of
the board operator controls. The model number denotes the number of
fader channels installed (16, 20, or 24). Figure 1-1 shows an EMX-16
Surface with an optional SS-8 Button Panel installed (a 1.5” wide blank
panel ships standard in that size EMX Surface). Although the EMX Sur-
face can be used while set on top of the counter, to maintain its very
low profile we recommend it be set into a countertop cutout.
Each EMX Surface has these parts:
●Quad Fader Panels – EMX consolidates the controls for four fader
channels into one removable panel. EMX-16/EMX-16W Surfaces
have four fader panels; EMX-20/EMX-20W Surfaces have five fader
panels; and EMX-24/EMX-24W Surfaces have seven fader panels.
Each fader channel strip includes:
●13 buttons, with LED illumination, for: Channel on; Channel
off; Cue on/off; Talkback (TB); Four PGM and one Offline bus
assign; Auto FB on/off; and three user-set “Soft” buttons
●A color OLED (Organic Light Emitting Diode) display shows the
channel’s source name and status; it also lists the visible al-
ternate sources while selecting a new source; and, if enabled,
shows the settings for the Advanced Channel Features
●A 100 mm conductive-plastic fader
●A large-knob rotary Channel Encoder to select the channel
source; also allows access to the Advanced Channel Features:
Mode, Pan, EQ & Dynamics, Aux1 and Aux2 bus settings (each
is access-controlled using the EMX Surface Setup app)
Figure 1-1 EMX-16 Surface, with Optional SS-8 Panel
●Monitor Control Panel – Has the controls to support the Control Room
(CR), an associated talk studio, and an external location. The panel has
monitor source selection and level controls for the CR (monitor speakers
and board operator headphones) and the studio monitors, along with
controls for adjusting CR & studio talkback and cue levels; the switched
meter source; the timer; and to save and/or take console events
●Meter Bridge – The EMX Surface has four stereo LED meters (Program
1, Program 2, Program 3, and Switched) along with two cue speakers,
an On-Air “Hot Mic” indicator, and a four-digit count up timer
●Headphone output – A headphone amp is included in the Surface with
a ¼” TRS (Tip-Ring-Sleeve) jack, on the right side of the chassis, for the
board operator’s headphones
●Accessory Panels – The EMX-16, EMX-20, and EMX-24 each have one
1.5” wide blank panel allowing an optional SS-8 panel or other single-
width WheatNet IP (WNIP) panel (or a custom panel) to be installed
within the Surface. The EMX-16W, EMX-20W, and EMX-24W have five
1.5” blank panels at the right end, allowing the installation of a Telos VX
phone control panel (3” wide) plus up to three SS-8 panels, or up to five
1.5” wide control panels, within the Surface
T

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Figure 1-2 PR&E Mix Engine, front panel
PR&E Mix Engine – The 1RU Mix Engine (Figure 1-2) has the audio,
logic, and network connections for the EMX console along with the
DSP, signal mixing, and AoIP (Audio over IP) interface functions. It has
these main features:
●5-Port Gigabit Ethernet Switch—used to network the Surface
and Mix Engine with three other Ethernet devices (admin PC, audio
playback server, VoxPro PC, Razor I/O Interface, or M4IP-USB
Blade). Can also connect the EMX to a facility-wide AoIP Gigabit
switch to network multiple EMX and DMX studios together
●Two Low-Noise Mic Preamps—with female XLR inputs, each
with switchable phantom power and an input gain/trim pot
●Eight Stereo/Dual Mono Inputs—Four analog and four AES/EBU
●Four Stereo Bus Outputs—Analog and AES/EBU for each bus
●Four Stereo Analog Monitor Outputs—Control Room (CR), Stu-
dio (STU), Cue, and headphone (HDPN) to feed outboard amps or
powered speakers
●One 6-port LIO Logic Connector—WNIP logic compatible
Figure 1-3 PR&E 1620 Power Supply, front panel
Surface Power Supply – The 1RU PR&E 1620 Power Supply (Figure
1-3) can be mounted below the Mix Engine or in another convenient
location within about 10 feet of the Surface (the supply includes a 16-
foot DC cable). The DC cable uses threaded locking connectors at each
end. An optional Fail Safe Interface (FSI-DMX/EMX) can be used with a
second 1620 supply for redundant EMX Surface power.
Installation Kit – A USB thumb drive, with PDF documentation files
and the PR&E software installers ship with the EMX along with the DC
cable for the Surface, two IEC AC power cords for the Engine and Sur-
face Power Supply, and a short CAT5e cable to connect the Mix Engine
to the built-in Ethernet switch.
EMX OVERVIEW
The EMX console is a compact, self-contained, Audio over Internet
Protocol (AoIP) radio broadcast and production console designed for 24/7
operation. The console’s three main hardware components: PR&E Mix
Engine; EMX Surface; and Surface Power Supply are each fully FCC
and CE certified.
The EMX console ships with a factory default configuration so it can be
powered up and used straight out of the box. These default settings are
easily changed after console installation to configure the console for use in
an on-air studio, a production room, a newsroom, or other application
using the three Windows PC apps included with the console. Chapter 3
covers using these apps, starting on page 20.
EMX Accessories
Most WheatNet IP (WNIP) system peripheral devices can also be used
with an EMX console. One exception is the Sideboard mixer which needs a
Utility Mixer, which is included on every WNIP Blade but is not included in
the Mix Engine, so to use a Sideboard you must have an M4IP-USB Blade
in the PRE-IP system. Each M4IP-USB Blade can support two Sideboards.
An EMX console can be networked with: WNIP Talent stations (TS-4 for
guests and TS-22 for hosts); WNIP button panels like the SS-8 panel,
which has eight scriptable buttons with integral color OLED displays; any
Wheatstone GP panel; any Vorsis audio processor; any WNIP-compatible
peripheral from Tieline, Eventide and other vendors; and any PC or audio
server running a WNIP audio driver.
Several of the WNIP system apps (PC-XY; MeterApp; and Screenbuilder)
also work with an EMX console. Since the EMX Surface supports ACI
commands, Screenbuilder can be used to build a screen to remotely
control the EMX fader levels and channel on/off settings.
Razor I/O Interface (1RU, FCC and CE certified) – Adds audio and logic
I/O to an EMX console or to a PRE-IP network. Each Interface has sixteen
RJ45 jacks for audio: eight for 8 stereo/16 mono inputs and eight for 8
stereo/16 mono outputs; along with one 6-port LIO Logic jack.
There are three Razor models:
•Razor 16A has all analog I/O—plus two mic preamps (same
type as included in the Mix Engine)
•Razor 16D has all AES/EBU I/O
•Razor 16AD has half-analog and half-AES/EBU I/O
M4IP-USB Blade (1RU, FCC and CE certified) – The only Blade pre-
licensed for use with an EMX console. It has four matched SQ (Super-
Quiet) mic preamps with Vorsis audio processing plus: four USB jacks, for
local PC connection with stereo signal playback and/or recording on each

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USB connection; four stereo analog and four AES/EBU outputs to connect
to headphone amps, monitor speakers, or local recorders; and two RJ45
Logic jacks (twelve WNIP-compatible LIO).
Razor Blades, M4IP-USB Blades, WNIP peripherals, and PCs using WNIP
audio drivers are all networked with the EMX using one CAT5e or CAT6
cable of up to 330 feet (100 meters). Three of these devices can plug into
open ports on the Mix Engine’s switch. Connecting additional devices
requires adding one or more AoIP switches to create a PRE-IP network.
Port 1 of the Mix Engine’s switch is then connected to the AoIP switch.
PRE-IP Network
EMX consoles use a subset of the WheatNet AoIP (WNIP) networking
protocol. This allows multiple DMX and EMX consoles, Razor I/O
Interfaces, M4IP-USB Blades, and other WNIP-compatible devices (like PCs
and audio servers) to share their resources in an AoIP network. Appendix
A details how to move beyond a single EMX console to network multiple
PRE-IP and WNIP devices together to form a facility-wide AoIP network.
The PR&E System Configuration Tool, supplied with the EMX console, is
used to add new EMX or DMX consoles and Razor I/O Interfaces to your
EMX console. This app changes the new device’s default settings to unique
settings so the new device can be networked with your existing PRE-IP
devices for “plug-and-play” system expansion.
EMX consoles support the WNIP ACI (Automation Control Interface)
which allows remote EMX Surface control and/or monitoring by external
3rd party devices, tablets, and software apps. Note that ACI is not
supported by DMX Surfaces.
Both DMX and EMX consoles do support WNIP SLIO (Software Logic
I/O) so automation systems, talent panels, script engines, and GPIO ports
can send/receive logic commands over Ethernet. To interface external
devices that do not support WNIP SLIO, there are six hardware LIO (Logic
Inputs/Outputs) ports on each Mix Engine and Razor I/O Interface (and
twelve on the M4IP-USB Blade) to connect “old school” GPIO devices.
EMX Surface
The EMX Surface has two types of operator control panels: multiple
Quad Fader panels and one Monitor Control panel.
Each Quad Fader panel has four fader channels (one channel strip is
shown in Figure 1-4), each with a 100 mm conductive-plastic fader for bus
level control plus thirteen LED illuminated channel buttons for: Channel
Off; Channel On; Cue on/off; momentary Talkback (TB); Telco Auto FB
(Fold Back) on/off; five bus assignment buttons (Off Line, PGM 1, PGM 2,
PGM 3, and PGM 4); and three user-assigned Soft buttons.
A large-knob rotary encoder, at the
top of each channel strip, allows the
board operator to select the audio
source for that fader channel. A
channel display, located just below
each channel fader, shows the audio
source name currently connected to
that fader channel, along with other
source and channel status
information.
When the encoder is rotated—while
the channel is off, the channel display
switches to list the alternate sources
for that channel, with one name being
highlighted. Pressing once or “clicking”
the rotary encoder “takes” the
highlighted source, connecting it to
that fader channel.
The fader channel audio can be
assigned to any combination of the
Program and Off Line buses using the
PGM 1 – PGM 4 and Off Line bus
assignment buttons. The buttons light
up when assigned. The Off Line bus is
exclusively used with callers and
remotes to create s unique IFB
(Interruptible Fold Back) or mix-minus
signal for each hybrid and codec.
The Monitor Control panel mounts
near the right end of the Surface. It
has three control columns: the left
column has the monitor controls for
the Control Room (CR/HDPN); the
middle column has the Studio monitor controls; and the right column
(Meter) has controls to select the switched meter source; to control the
meter bridge timer; and to save and/or take console events.
A PRE-IP network is not interoperable with a WNIP
network. The EMX and DMX consoles, and Razor I/O
Interfaces, do not have the Intelligent Networking
capabilities built into every WNIP Blade. However, audio
resources can be streamed between a PRE-IP network
and a WNIP network when the WNIP system’s Navigator
software has been licensed for “cross-networking.” For
more information, contact Wheatstone technical
support—prior to networking a WNIP and PRE-IP system
together, to ensure the two systems are running code
that supports cross-network audio streaming.
Figure 1-4 EMX Surface Controls

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Each Surface control panel connects to a host board, within the meter
bridge, using a single plug-in ribbon cable. This allows for rapid field
replacement, with minimal interruption to operations, in case of spills or
other damage to the EMX Surface controls.
Since the program audio resides within the Mix Engine, rather than
going through the Surface, any control panel can be swapped out while the
console is actively being used with minimal or no interruption to program
audio. Chapter 5 (EMX Service Information) covers how to replace and/or
obtain service on the control panels and other EMX console parts.
Meter Bridge
The integrated direct-view low-profile EMX Meter Bridge (Figure 1-5) sits
above and behind the control panels. It has four horizontal stereo level
meters with overload indicators, plus stereo cue speakers, a four-digit
timer display, and a hot-mic On-Air indicator.
Figure 1-5 EMX Meter Bridge
The level meters display from left-to-right: Program 1; Program 2;
Program 3; and a switched signal which can display Program 4 and three
user-set external signals: EXT 1; EXT 2; TEL; and a wild on-the-fly signal
set using the switched meter selector on the Monitor Control panel. The
switched meter can also be set to show cue levels while cue is active.
All four meters normally display both average and peak levels, but can
be set to show average-only or peak-only levels for special purposes.
The four-digit count-up timer is controlled manually, using the Monitor
Control panel Timer Start/Stop, Hold, and Reset buttons, or automatically,
when the Auto button is lit and a channel is turned whose audio source has
Timer Restart assigned (which is assigned using the EMX Surface Setup
app supplied with the console).
PR&E Mix Engine
All audio and logic connections are made on the rear of the Mix Engine
(Figure 1-6). This 1RU device has a built-in 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 stereo audio outputs (four analog and four AES
outputting the same set of signals); four stereo analog monitor
outputs (to feed powered Control Room and Studio monitors, powered
cue speakers, and an outboard board operator headphone amp); six LIO
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 or to an AoIP network switch.
Figure 1-6 PR&E Mix Engine rear panel, Connection Detail
Input and Output Connectors
All audio, logic, and network connections on the Engine and on the
optional Razor I/O Interface (Figure 1-7)—other than microphone preamp
inputs which have female XLR connectors, use RJ45 connectors and
category wiring (CAT5, CAT5e, or CAT6).
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, which has six GPIO logic ports along with a +5V
and a GND connection, uses the WheatNet-IP (WNIP) logic jack wiring
format.
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 EMX console.
Figure 1-7 Razor 16AD Interface, rear panel RJ45 Connector Detail
EMX 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.
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

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EMX SPECIFICATIONS (CONTINUED)
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 to support +5 or +12
volt 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 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 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 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)
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
EMX-16: 5 1/4” x 32 1/8" x 18 5/8" (H, W, D)
EMX-16W: 5 1/4” x 38 1/4" x 18 5/8" (H, W, D)
EMX-20: 5 1/4” x 38 3/16” x 18 5/8" (H, W, D)
EMX-20W: 5 1/4” x 44 1/4" x 18 5/8" (H, W, D)
EMX-24:5 1/4” x 44 9/64” x 18 5/8" (H, W, D)
EMX-24W: 5 1/4” x 50 3/16” x 18 5/8" (H, W, D)
Rack-Mount Device Dimensions
PR&E Mix Engine (1RU): 1 3/4” x 19" x 13 1/4" (H, W, D)
PR&E 1620 Power Supply (1RU): 1 3/4" x 19" x 13" (H, W, D)
Razor I/O Interface (1RU): 1 3/4" x 19" x 9 1/4" (H, W, D)
Power Supplies
Type: Internal switching supplies on all devices
AC input: Detachable IEC cord
AC input: 90-240 VAC, 50/60 Hz
1620 Supply Output: +16 VDC @ 4.00 amps
Power Requirements
PR&E Mix Engine: <30 watts at 120 VAC / 60 Hz
EMX-16 Surface:<15 watts at 120 VAC / 60 Hz
EMX-20 Surface:<25 watts at 120 VAC / 60 Hz
EMX-24 Surface: <35 watts at 120 VAC / 60 Hz
Razor: <15 watts at 120 VAC / 60 Hz
Environment
Ambient Temperature: Less than 40°C
Cooling: EMX Surface, PR&E Mix Engine, 1620 power supply, and the
Razor I/O Interfaces are all convection cooled (no fans). We recommend
leaving one rack space open above the power supply and Mix Engine to
allow for proper heat radiation from those units.
Wheatstone / PR&E reserve the right to change specifications without
notice or obligation.

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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.

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2 – EMX HARDWARE INSTALLATION
very EMX Surface is 18 5/8” (47.3 cm) from the front of the
palm rest to the back panel. The side panel-to-side panel width
varies by Surface model: EMX-16 is 32 1/8" (81.6 cm); EMX-
16W is 38 1/4” (97.2 cm); EMX-20 is 38 3/16” (97 cm); EMX-
20W is 44 1/4” (112.4 cm); EMX-24 is 44 9/64” (112 cm); and
EMX-24W is 50 3/16” (127.5 cm).
LOCATING THE EMX COMPONENTS
The EMX Surface is designed to be set into a cutout in the studio
furniture countertop with the front of its palm rest 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.
A 16-foot locking DC cable (included) connects the Surface to the 1RU
PR&E 1620 Power Supply, which must be rack mounted (19” rack) so
its DC cable is not under strain when connected to the Surface. The 1620
Supply is typically mounted at the top or bottom of an under-the counter
19” equipment rack. It can alternately be mounted below the Mix Engine
when a 1RU blank or vented panel is placed in between the power supply
and Mix Engine to ensure adequate ventilation for both devices.
The PR&E Mix Engine (1 RU) is also mounted in an under-the-counter
19” rack. We recommend adding a 1RU blank or vent panel above the Mix
Engine to ensure adequate ventilation. Mount the Mix Engine in a location
that allows easy access to its rear pane since that’s where all audio, logic,
and network connections for the EMX console are made. There are no
controls on the Mix Engine, but there are front panel status LEDs that may
need to be viewed.
Unlike the 1620 Supply, the Mix Engine’s mounting location is not
constrained by cable length since it connects to the EMX Surface using one
straight-thru category cable (customer-supplied CAT5e or CAT6 cable)
which could extend up to 330 feet (100 meters). This cable connects the
Ethernet jack on the Surface to Port 4 on the PR&E Mix Engine’s rear panel
Ethernet switch.
When locating the Surface, Mix Engine, and 1620 Supply avoid mounting
them in close proximity to any products using unshielded switching power
supplies, motors, or large power transformers since these generate strong
electromagnetic fields that could adversely affect their operations.
The EMX can be installed and operated while sitting on the countertop,
but to maintain its low profile—and to allow its palm rest to sit flush to the
countertop, the EMX Surface must be set into a rectangular countertop
cutout. The cutout depth (front-to-back dimension) is 15” (38.1 cm) for
any size EMX Surface. The cutout width varies by the Surface model, as
listed in Figure 2-1.
The cutout must be parallel with the countertop edge. It starts 2” (5 cm)
beyond the desired setback dimension (e.g., for a 6” (15 cm) setback,
begin the cutout 8” (20 cm) from the countertop edge).
When cutting a laminate countertop, use a large drill bit to drill fully
through the countertop at the four cutout corners. Use a jigsaw or
reciprocating saw to then cut out the hole. Leave the corners rounded to
prevent future laminate cracking caused by a sharp corner. Corian® and
other solid surface material should be cut out by an authorized installer.
Depending upon how the cabinet is braced, a steel support strut (1-5/8"
x 1-5/8" slotted strut channel, 12 gauge, or similar) may need to be
attached to the underside of the countertop, typically just behind the rear
of the cutout, to maintain countertop rigidity.
Figure 2-1 EMX Surface Cutout Placement & Dimensions
E

12
Surface Placement & Cable Connections
Set the Surface on the counter, or into the cutout, and verify its palm
rest is parallel with the countertop edge. The weight of each Surface
should hold it in position when set on the countertop. If the cutout is
oversized, allowing the Surface to shift slightly, place thin soft rubber pads
under the side panels or use angled shims, placed between the countertop
and each side of the chassis, to firmly hold the Surface in position.
To connect the Surface’s DC cable, and the Ethernet cable that connects
the Surface to the Mix Engine, remove the upper rear cosmetic cover from
the back of the meter bridge. Remove the black #1 Phillips screws from
along the bottom of the upper rear cover. Since its top edge fits into a slot
in the meter bridge’s top cover, the upper rear cover may need to be
pulled down slightly to pull it out of the slot.
When removed, the network host board, with the DC power jack and
RJ45 Ethernet jack is revealed (Figure 2-2). Route the supplied DC cable,
and the customer-supplied category cable (CAT5, CAT5e, or CAT6), up
through the access holes in the bottom of the chassis. Plug and latch the
category cable into the upper shielded RJ45 Ethernet jack. Plug the DC
cable into the DC Power Jack, tightening its housing onto the threaded
jack. Reattach the upper rear cover.
Figure 2-2 Surface rear view (upper rear cover removed)
Route the CAT5e cable from the Surface to the back of the PR&E Mix
Engine (Figure 2-3), plugging it into Port 4on the built-in ETHERNET
switch. Route the DC cable to the 1620 Supply and connect it to the
threaded DC Jack on the rear of the supply.
If a redundant 1620 Supply and FSI-DMX/EMX Failsafe Interface are
being installed, connect the DC cable from the Surface to the DC OUT jack
on the Failsafe Interface. Connect the two short DC cables supplied with
the FSI-DMX/EMX between the two DC IN connectors on the Failsafe
Interface and the DC Out jackson each 1620 Supply. The two 1620
power supplies should connect to different AC circuits, if possible.
Figure 2-3 PR&E Mix Engine, Rear Panel Partial View, Ethernet Connections
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 connect to the Mix
Engine on 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 with RJ45 Audio Adapters to connector to
peripheral devices.

13
StudioHub and other vendors have a wide variety of RJ45 Audio
Adapters, most of which are carried by Wheatstone and PR&E dealers and
distributors. For more information on what adapters are available, and on
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
break out the six GPIO connections from the Mix Engine or Razor RJ45
Logic jacks to screw terminals so “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 a 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 that uses two connectors, two
single-pair UTP wires could be 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 reach the two audio connectors,
place shrink tubing over each wire pair and then shrink them together at
the stripped 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 shown in Figure 2-4 on page 12).
Unbalanced device outputs can directly connect to EMX 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
balanced signal, use the PR&E Navigator Device > Sources tab to adjust
the input gain. Every EMX input can be increased by up to +18 dB.
When EMX analog outputsneed 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 1GB) 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 12), CAT5 cable can be used
but all longer cable runs should use either CAT5e or CAT6 cabling.
Ports 1, 2, and 3on the five-port Gigabit Ethernet switch are available
to connect an “EMX 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 EMX, the PR&E apps can be
installed on that PC, and it would then be the EMX admin PC. The
remaining two switch ports can be used to network a WNIP-compatible
media server, and/or a Razor I/O Interface and an M4IP-USB Blade.
Port 1 can alternately connect the EMX to an AoIP switch to network the
EMX 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.

14
EMX POWER UP
The PR&E Mix Engine, PR&E 1620 Power Supply, and the Razor I/O
Interfaces 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
EMX 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 EMX
device to boot up, connect to the PRE-IP network, and be ready for use. If
the EMX 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 up all meters, visually indicating 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 also only blinks one
LED if 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 EMX, 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 EMX 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.
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).
Figure 2-5 Mix Engine Front Panel Status LEDs
If the red error LED lights up again after it restarts, this would indicate a
fault in the Mix Engine which requires service. Contact Wheatstone
technical support for assistance. See Chapter 5 (page 59) for information
on obtaining service and support for your EMX console.
CHECKING OUT THE EMX FEATURES
With the PR&E Mix Engine and EMX Surface powered up and plugged
into the built-in Ethernet switch on the Mix Engine, on a stand-alone EMX
the three green LEDs will be lit on the Engine’s front panel (Figure 2-5).
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!
Page 46 has an overview of channel strip controls and page 50 has
an overview of the Monitor Control panel’s controls.
With fader channel 1 turned off, rotate channel 1’s Channel Encoder.
The normal display, showing NoSource as the channel’s source, switches
to show alternate sources with one name highlighted (Figure 2-6). That
source’s device (the Mix Engine or Razor that it plugs into) appears above
the white line for reference (Blade01 is the PR&E Mix Engine).
Figure 2-6 Channel Visibility List
Rotating the encoder clockwise moves the highlighting down the
alphanumeric list of names, while rotating the encoder counter-clockwise
(CCW) moves the highlighting up through the names. The names wrap
around to present a continuous list. The NoSource name, which appears at
the top of the list, is a good way to identify when the list wraps around.
Every signal in the PR&E Mix 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 its
physical connection or its purpose in the case of an internal signal.
All inputs are set as stereo, except for Analog Input 1, which is set as
two mono inputs with the default names: BL01MIC1 and BL01MIC2. The
remaining Analog inputs have the default names: BL001S02, BL001S03,
and BL001S04; while the four AES inputs’ default names are: BL001S05
thru BL001S08. The last number matches the RJ45 jack number
silkscreened onto the rear panel of the Mix Engine and Razor.
Analog input 1 is meant to jumper to the MICS OUT jack so the two
built-in mic preamps can be used without having to make any changes to

15
Input 1’s configuration since it’s set for two mono mic signals. If the two
built-in mic preamps will not be used, Analog Input 1 can easily be
changed back to stereo using PR&E Navigator (see Chapter 3, page 39).
After the Mix Engine’s physical input signal names you’ll see the internal
signals within the EMX. 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 checking out the EMX. Setting signal
visibility is covered in Chapter 3, starting on page 30.
For right now, rotate the encoder until BL001S02 is highlighted (as
shown in Figure 2-6, on page 14). Press once on the channel encoder to
select that signal. This is called “clicking” the encoder–just like clicking a
PC mouse button. The click “takes” or connects the highlighted signal to
the fader channel. BL001S02 should now be shown, in green, in the middle
of the channel display (Figure 2-7).
The space above the white line is used to show which Advanced Channel
Features (covered in the next section) are active on that channel. There
are icons for the HPF and LPF (High Pass and Low Pass Filters); EQ for
Equalization; and DYN for Dynamics. If that channel’s fader was remotely
adjusted using an ACI fader level command, there would be a small red up
or down arrow in the middle to indicate which way the fader must be
moved to match the ACI command setting and regain local fader control.
Figure 2-7 Channel Display - Source is the Analog 2 Input
Below the name, in orange, is the channel’s mode setting. The default
setting for every channel is STEREO (a mono signal like a mic is 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 you can see a faint
lock icon which indicates the source’s LIO status (logic control status)
when turned on. On the left side—if the channel source is identified as a
mic, there’s a mic icon which turns red when the channel is on.
Advanced Channel Features
Every channel has five Advanced Channel Features which are
accessed by “double-clicking” or tapping twice on the channel encoder.
These advanced features can be selectively locked out from operator
access but, as shipped from the factory, all features are unlocked.
“Double-click” the channel 1 encoder (tap it twice quickly) and Mode
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.
Now the first eight channel displays switch to show the various EQ &
Dynamics control screens. Each channel on the console can have its own
EQ & Dynamics settings applied just like the Mode and Pan settings. The
Chapter 4 section, EQ & Dynamics, covers how to use these controls. For
now, double-click the channel encoder again. The other channel displays
return to normal and channel 1’s display switches to show AUX1 above
the white line.
The AUX1 screen shows the current settings for how that channel is
feeding the Aux 1 Send bus, including: whether AUX 1 is set for Pre / Post
Fader and Pre / Post On operation (set using the EMX Surface Setup app);
whether that channel is feeding the bus (On) or is unassigned (Off); and
the current channel level setting, shown in a bar graph display. To change
the On/Off assignment, click the channel encoder once and the On/Off
setting is highlighted. Rotate the encoder CW to select on (the channel is
now feeding the Aux 1 bus), rotate it CCW to select off (to unassign that
channel to the Aux 1 bus). Leave it set to off then click the encoder again
to highlight the bar graph. Rotating the channel encoder now adjusts the
level of that channel’s signal going to the Aux 1 bus.
Double-click the encoder to switch to the AUX2 adjustment screen
(AUX 2 is now shown above the white line). It has the same controls as
the Aux1 screen, so double-click the encoder one more time to exit from
the Advanced Channel Features.
The channel display reverts to showing the channel source name as
shown in Figure 2-7. If any EQ or Dynamics settings had been set in then
EQ, DYN, or the symbols for the HP or LP filters would be shown above
the white line.
Note: The Advanced Channel Features have a timeout period of
twenty seconds. If no control is touched over that time the channel
displays revert to their normal source name displays. When this
happens the current settings for that Advanced Channel Feature
are auto-saved. This twenty-second timeout period can be
defeated—which is especially useful when setting up EQ &
Dynamics, in the EMX Surface Setup app by unchecking Timeout
Enabled on the Talent Access tab and clicking Apply to upload the
new setting to the Surface.
The Mode, Pan, EQ & Dynamics, and Aux Send controls should be
selectively disabled from board operator access prior to releasing
the console for daily use. This is also done on the Talent Access
tab in the EMX Surface Setup app (see page 24).

16
Connecting Audio to the EMX
Connect a stereo analog audio signal (like a +4 dBu test tone playing on
a CD player) to the ANALOG 2 IN jack on the PR&E Mix Engine using
wiring that follows the RJ45 wiring pin out shown on in Figure 2-4 on page
12. That jack’s default signal name is BL001S02, which should already be
shown in the Channel 1 display as the current source for that fader
channel. Figure 2-8 identifies this jack on the back of the Mix Engine.
To verify you have audio, press the channel 1 Cue button (it lights) to
connect that channel’s audio input to the stereo cue speakers in the meter
bridge. Adjust the CUE encoder on the Monitor Control panel to adjust the
cue speaker level. Press the cue button again (the LED turns off) to
unassign channel 1 from the cue bus.
Assign channel 1 to PGM 1,PGM 2,PGM 3, and PGM 4 (light up all
four assignment buttons). Set the channel 1 fader to the Fader Marks by
aligning the middle line on the fader knob to the two arrows that indicate
the -12 dB setting, which is unity gain through the console.
Turn Channel 1 on by pressing and releasing the On button (directly
below the channel display). This button turns red when pressed, indicating
the audio source is now being applied to the selected Program buses.
Figure 2-8 Mix Engine, rear panel partial, showing Audio and Logic Jacks
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 the level is at
-20 dbFS (dBFS = decibels below Full Scale). This is equivalent to 0 VU on
an analog VU meter. The three dedicated Program meters (Program 1,
Program 2, and Program 3) should show this level. The Switched Meter
will show Program 4 when the PGM 4 button is lit in the Meter column of
the Monitor Control panel (press the button to light it).
If desired, connect a test set to the four PGM ANALOG outputs to
confirm that each is putting out +4 dBu. Connect a digital test set to the
four PGM DIGITAL outputs (since they have the same signals as the analog
jacks) to confirm they are each putting out -20 dbFS. The default sources
for these PGM outputs are the PGM 1 to PGM 4 buses, but PR&E Navigator
can be used to connect alternate sources to any of these four stereo
outputs.
To check the four analog monitor outputs (the OUT jacks) connect a test
set (or a powered monitor speaker with a balanced input) to the CR jack.
In the left column of the Monitor Control panel, select PGM MONITOR 1
as the source for the Control Room. The CR fader adjusts the level of the
CR output. Orange/blue bar graphs in the left and middle monitor displays
show the relative levels of the CR, HDPN,CUE, and STU outputs (Figure
2-9). The CR monitor output has a speaker icon (upper bar graph in the
left display).
Move the test output to the HDPN connector. Its output level is
adjusted by the HDPN fader. Its level has a headphone icon (bottom bar
graph in the left display). This level also affects the output from the EMX
Surface’s headphone jack.
Move the test output to the STU output. In the middle column of the
Monitor Control panel, select PGM MONITOR 1as the monitor source for
the Studio. Adjust the STUDIO encoder to adjust the STU output as
required. Its level is shown in the bottom bar graph in the middle display.
Move the test output cable to the CUE output. Press the Cue button on
channel 1 so that it lights. Adjust the CUE encoder. Its level controls both
the built-in cue speakers in the meter bridge as well as any powered
speaker connected to the Cue output on the Mix Engine. The upper bar
graph in the middle display shows the cue level.
Figure 2-9 Monitor panel displays showing the monitor output Levels
The remaining two bar graphs in the right-hand display show the levels
for the Talkback to Control Room level control (TBR) and the Talkback to
Studio (TBX) level control on the Monitor Control panel. The TB TO CR
encoder adjusts the level of talkback coming into the control room from a
studio microphone. The TB TO STU encoder adjusts the level of the
Control Room Mic talking into the Studio output.
By following the preceding steps, you should now have a basic under-
standing of EMX console operations and the Mix Engine signal connections.
If you have a list of audio devices, and which inputs and outputs they’ll
plug into, you can use PR&E Navigator and the EMX Surface Setup apps to
name the input signals and configure the console for your application.
Board operators typically find it a lot easier to use a console when the
source names are HOST MIC, CD, VOXPRO, PLAY 1, PLAY 2, etc., rather
than the default names of BL001S04, BL001S08, etc.
The next chapter covers how to use the PR&E apps (EMX Surface Setup,
PR&E Navigator, and the PR&E System Configuration Tool) to configure the
Mix Engine, the EMX Surface, and the Razor I/O Interfaces for your
specific application. Chapter 4 covers EMX Surface operations from a board
operator perspective. The remainder of this chapter presents additional
details about the audio and logic connections on the Mix Engine and Razor.

17
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 2-8, on page 16,
shows the RJ45 jacks on the back of the Mix Engine for reference.
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 the low noise preamps in order to boost the mics up to line
level. Since any EMX fader channel can have EQ and Dynamics Processing
applied to it and, since mics are typically on their own dedicated channels,
the use of an external mic processor may not be required with the EMX. 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
and Vorsis signal processing.
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 and their peaks are
around -8 dB dBFS on the Program meters. If you want to add EQ and
Dynamics Processing, do that 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 it’s been
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 (pins 2–7) plus ground (pin 1) and +5 volts (pin 8). Each logic port
is independently assigned, using PR&E Navigator, to set it as either a logic
output (e.g., On Tally, Studio In Use tally, Start Pulse, etc.) or as a logic
input (e.g., 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 EMX console over Ethernet. SLIO signals are also assigned
using PR&E Navigator as either an input or an output. See page 41 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/trim/balance settings in PR&E
Navigator. Up to 18 dB of gain or trim can be applied to any input.
Inputs are labeled as ANALOG IN 1-4 on the Mix Engine. They are
assigned the default names: BL01MIC1 (input 1 left), BL01MIC2 (input 1
right), BL001S02 (input 2), BL001S03 (input 3), and BL001S04 (input 4)
in the EMX signal lists. Inputs 2, 3, and 4 can also be separated into two
mono inputs using PR&E Navigator 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. There are also gain/trim settings in PR&E
Navigator to adjust their input levels, as required. Any AES/EBU input can
also be split into two mono signals, a common occurrence with digital
phone systems.
Note: Digital In 8 can also be used as a Sync Reference input to
synchronize the EMX to an external sample clock signal.
PGM OUTPUTS – There are eight PGM Outputs: four stereo balanced
analog outputs and four AES/EBU outputs which, by default, are connected
to the PGM 1 – PGM 4 buses. But these outputs can be connected to
different sources using the PR&E Navigator System > Crosspoint tab to
first unlock the output and then connect a different source. 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 do change the source
connected to one of the PGM outputs, uncheck the EMX Surface Setup
option Use Default Signal Mapping (page 23) since that option will restore
the four PGM buses to all four outputs if the console is power cycled.
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.
MONITOR OUTPUTS – The default sources for these four stereo analog
outputs (as set by the Use Default Signal Mapping setting) are the Cue
bus, the level-controlled CR monitor and Studio monitor buses, and the
operator headphone output. Normally the four Surface controls (CUE
encoder, CR fader, STUDIO encoder, and HDPN fader) control the monitor
output levels, but when an alternate source is connected, using the PR&E
Navigator Crosspoint tab, the Surface control will no longer affect the
output when its source has been changed.
The CR OUT is normally connected to powered Control Room monitor
speakers and thus is not changed to an alternate new source. Since the

18
EMX has built-in cue speakers, if external cue speakers are not needed the
CUE OUT could be used to connect the Telco Mix to a call recorder output.
If the console does not have an associated talk studio, the STU OUT jack
can also be connected to a different source and used to feed a skimmer,
an internet streamer, or other device. Likewise, if the HDPN OUT is not
needed to connect to an outboard headphone amp it can be connected to
another source to create yet another line output on the Mix Engine.
Note: The built-in ¼” headphone jack, on the right side of
Surface, is also controlled by the HDPN fader but it is not affected
when the HDPN OUT jack on the Mix Engine gets changed to an
alternate source.
Additional Operational Features
This section covers some of the special operational features found on the
EMX Surface including using the Off Line bus and assigning sources for the
Monitor Control panel monitor and meter select buttons, as well as how to
adjust input and output levels/signal balances and set mic and monitor
muting.
Callers & Remotes
The EMX console uses the WheatNet-IP bus-minus convention to create
a unique To Network return audio signal when a caller or remote is the
channel source. Callers and remotes are collectively called Telco devices
(phone hybrids and codecs are the most common Telco devices).
A Telco device has a From Network audio signal, which is set as the
channel source, and a To Network audio signal, which is returned to the
Telco device so the caller/remote hears the board operator or the on-air
signal—but always minus their own From Network audio. This To Network
audio signal is typically derived from the Telco channel’s bus-minus signal
which can be manually connected to the hybrid or codec using the
Crosspoint tab in PR&E Navigator or automatically connected using an
Associated Connection, each method is covered in detail in Chapter 3.
The Off Line (OL) bus is typically used to create the To Network signal
for phone callers and for remotes when they are not on-air, so that the
board operator and/or producer can carry on a hands-free conversation
with them. When the caller or remote goes live, the PGM 1 bus is typically
used to create the To Network signal so that they hear everything else
going to air (but always minus their own audio).
When a channel’s source is a Telco device, the Auto FB and TB
(Talkback) buttons are activated. The Auto Fold Back feature, active
when the Auto FB button is lit, automatically switches the To Network
signal between the OL bus, while the channel is off, and the on-air PGM
bus (typically PGM 1), when the channel is turned on. This feature is used
when the caller or remote will go live to air so that the board operator
does not have to change any board settings to have the To Network return
audio automatically switch from the OL bus to the PGM 1 bus. Of course, if
the board operator needs to talk to the caller or remote while they are
live, they can press the TB button to override the PGM bus-minus audio to
talk to the caller or remote using the board operator mic.
When a caller or remote is assigned to a dedicated fader channel, setting
up their Telco device is simple: the From Network audio signal is “dialed
up” on that fader channel and that fader channel’s bus-minus signal is
connected (using PR&E Navigator) to the output that connects to the
phone hybrid or codec.
When callers (or more likely remotes) are made visible on multiple fader
channels, things get more complicated since now their mix-minus signal,
which is derived from the bus-minus signal on the channel the caller or
remote is taken on, also has to be changed. Fortunately, the PR&E
Navigator Associated Connections feature allows you to set up a “trigger
condition” for the system to monitor (like a codec being dialed up on fader
channel 15). One or more actions are then set to occur when that trigger
condition is detected by the system. In this example, when the
codec/remote is taken on fader channel 15, the system responds by
connecting the bus-minus for fader 15 back to that codec/remote.
Typically one sets up an Associated Connection for each fader that a
codec is set visible on so that no matter which channel the codec is taken
on, it will always be connected to the correct bus-minus signal. Setting up
Associated Connections is covered in Chapter 3 on page 43.
Using the Off Line Bus
Typically, the board operator mic and the caller/remote channel is
assigned to the OL bus. The caller/remote channel’s Off Line button blinks
indicating the OL bus is the bus-minus source for that caller/remote. Their
channel is off and assigned to cue so the board operator can hear the
caller/remote and carry on a hands-free conversation using their mic.
If a Host or call screener need to talk to the caller/remote, their mic
channels would be assigned to OL as well. They would then talk to the
caller using their mics and hear the caller through the cue speakers.
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 tab, to the bus-minus signal for
the channel that the caller/remote is on. See the note on the next page
regarding mono vs. stereo signals on Razor I/O Interfaces.

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Input Trim/Gain/Balance Adjustment
PR&E Navigator has level controls for each physical input and output on
the Mix Engine and Razor. 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. See page 40 for details.
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 EMX Surface Setupapp’s VDips page
tab. See page 26 for details.
Setting Monitor & Meter Button Sources
The EMX Surface’s Monitor Control panel has three columns of controls:
Control Room (CR); Studio; and Meter (see Figure 4-7 on page 50). The
top of each column has a large knob source selector. Just in front of each
source selector are four source select buttons. For the CR and Studio
columns the buttons are labeled: EXT 1, EXT 2, TEL, and SOFT. The four
Meter column buttons are labeled: EXT 1, EXT 2, TEL, and PGM 4. Of these
twelve buttons, only the Meter PGM 4 button is a dedicated source, the
other eleven buttons have user-assigned sources. The list of sources that
can be assigned to the buttons is set using the EMX Surface Setup app’s
Visibilities page tab (page 30).
To assign a source, press/hold the select button for about three seconds,
until it begins blinking. That column’s display switches to show the list of
available sources. Use that column’s source selector to highlight the
desired source then click the source selector to assign the highlighted
source to the blinking button. The display returns to show the normal
display. To check that the correct source was assigned press the select
button. The assigned source will appear in green in that column’s display.
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 39
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 39).
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.
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

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3 – PR&E APPS AND EMX CONFIGURATION
he EMX console’s factory-default settings allow it to be
powered up and used straight out of the box. These
default settings are edited, to configure the console for a
specific application, using the PR&E apps on the USB
flash drive that came with the console. These apps can
also be downloaded from this site:
https://wheatstone.box.com/s/bsvjtuie7xpsth3ppaq4nles8ixke945
The three apps: EMX Surface Setup; PR&E Navigator; and PR&E System
Configuration Tool can be installed on any Windows 10, 8, 7, or XP SP3 PC
(henceforth called the “admin PC”). Prior to installing the apps, set that PC
to a fixed IP address in the 192.168.87.0 subnet so that it will be able to
communicate with the EMX console and other PRE-IP devices.
Note: Even though the EMX and the other PRE-IP devices could all
be changed to another Class C subnet, we recommend leaving the
EMX on the default subnet (192.168.87.0) to simplify adding new
PRE-IP devices since all devices use that subnet by default.
We recommend setting the admin PC to 192.168.87.20 with a subnet
mask of 255.255.255.0. This puts it on the same subnet as the PR&E Mix
Engine (default IP address = 192.168.87.101) and the EMX Surface
(default IP address = 192.168.87.201). Connect the admin PC to Port 1,
2, or 3on the Mix Engine’s Ethernet switch (see Figure 2-3 on page 12 for
the location). The Mix Engine and Surface should already be powered up at
this point and connected to Ports 4 and 5 on the Ethernet switch.
To insure that each application is properly installed, right-click on the
installer icon or its file name and select “Run as Administrator” to install
each app. Accept the default installation settings. Each app adds a shortcut
icon to the desktop. In the Start menu, the apps are located in a
Wheatstone PR&E folder.
EMX SURFACE SETUP APP
The EMX Surface Setup app is used to configure the EMX
Surface. Double-click its desktop icon (shown at right) to start
the app. The app opens displaying the Device Properties tab.
Figure 3-1 shows this tab and identifies the main features of
the app including: the two tabs and seven page tabs; the page
tab sections; the Apply or Cancel and Save or Restore buttons;
and the two additional panes (Devices Pane and System Info Pane) which
can be hidden or displayed, as required, using settings in the View menu
item.
Figure 3-1 EMX Surface Setup app, initial view
Click on the Locator tab to view that tab (shown in Figure 3-2 on page
21). The Locator tab lists every PRE-IP device (EMX and DMX Surfaces,
PR&E Mix Engines, Razor I/O Interfaces, M4IP-USB Blades, and any PCs
running the WNIP audio driver) that are networked with that Mix Engine’s
Ethernet switch. For a new EMX console, only two devices should appear:
the Mix Engine and the Surface, as shown in Figure 3-2.
If no devices are listed, confirm the admin PC, Mix Engine, and Surface
are all plugged into the Mix Engine’s Ethernet switch. Verify that the
correct IP address (192.168.87.20) is shown above the Select NIC…
button. If the app is using the wrong NIC, click Select NIC… to open the
Network Setup window. Click Set NIC…to view the NICs on the admin
PC. Select the correct NIC then click Okay twice to close the window. If the
NIC is changed you must close and reopen the EMX Surface Setup app.
To refresh the Locator’s list of devices, click Refresh. This clears the list
and re-queries the network to display the detected devices.
Clicking on a device row in the Locator pane (the Mix Engine is selected
in Figure 3-2) shows the details for that device in the Set Selected Device
Properties pane. The default settings for each device could be manually
edited, by advanced users, who wish to use a different subnet and assign
their own IP addresses for networking multiple EMX consoles together.
T