Wheatstone DMX-8 Surface User manual

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Networked AoIP Broadcast Console
Manufactured by Wheatstone Corporation

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Publication Information
©2017 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

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TABLE OF CONTENTS
Publication Information ...................................................................2
Safety & Hazard/Warning Labels ....................................................4
1 - Introducing DMX ..........................................................................5
DMX Overview ............................................................................6
Specifications .............................................................................7
Warranty Statement ..................................................................9
FCC Compliance Statement ......................................................9
2 – DMX Installation ..........................................................................10
Locating the DMX Components ...............................................10
Engine Connections ...................................................................12
DMX Power Up ............................................................................13
Checking Out the DMX Features...............................................13
Engine Signal Notes ...................................................................15
Razor I/O Interface Notes ..........................................................19
3 – Console Configuration ................................................................21
The Surface Setup App ..............................................................21
The PR&E IP Navigator ...............................................................30
DMX Configuration Tool ...........................................................33
Software Updates ......................................................................33
4 – DMX Use and Applications .........................................................35
5 - Service Information .....................................................................45

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5
1 – INTRODUCING DMX
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 ships with the
console. It summarizes the console’s installation 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. Every Surface
has these features:
●Fader Channels – There are eight fader channels on the DMX-8
and sixteen on the DMX-16. Every 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 access the advanced channel control
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 on the DMX-8 and DMX-16 Surfaces.
●Headphone output – A board operator headphone amp is includ-
ed in the 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
●DMX-16 Engine – The 1RU DMX 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. It has
these main features:
●5-port Gigabit Ethernet switch to network the Surface and Engine,
along with three other Ethernet devices, like a setup 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 bus outputs (analog and AES for each bus)
●Four stereo analog monitor outputs for Control Room, Studio, Cue,
and an operator headphone output for an outboard amp
●One 6-port GPIO logic connector
●DC power source for the DMX-8 Surface (the DMX-16 Surface has
its own DC supply)
Figure 1-2 DMX-16 Engine, front panel
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●Installation Kit – The DMX ships with a Quick Guide to the Surface
controls and Engine connections and a USB thumb drive with PDF
documentation files and the PR&E software application installers for
the DMX software apps. Note that the PR&E IP Navigator is a licensed
application, so a site license is required to continue using it beyond an
initial evaluation period.
DMX-8 consoles include an IEC AC power cord for the Engine and a DC
power cord for the Surface. DMX-16 consoles include an in-line DC
supply for the Surface and two IEC AC power cords for the Engine and
in-line supply. All consoles include a short CAT5e cable to connect the
Engine to the built-in Ethernet switch.
DMX OVERVIEW
The DMX console is a compact, self-contained, Audio over Internet
Protocol (AoIP) radio broadcast and production console designed for 24 / 7
operation. The console has two main hardware components: a 1RU rack
mount DMX 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 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.
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 (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 Engine’s Gigabit Ethernet
switch using a single CAT5e or CAT6 cable of up to 300 feet (100 meters).
DMX consoles use the WheatNet-IP (WNIP) AoIP networking convention.
This allows multiple DMX consoles to easily be networked together to
share their sources and destinations using the DMX Configuration Tool to
automatically assign unique IP addresses, device ID numbers, and device
names for “pain free” network expansion.
DMX Surface
The Surface’s eight or sixteen audio control channel strips are called
Fader Channels (three channels are shown in Figure 1-3). 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 fader, shows the audio source name
currently “dialed up” on that channel along with other source or channel
status information. When the encoder is rotated, while the channel is off,
the display switches to list alternate sources visible on that channel with
one name highlighted. Pressing once or “clicking” the rotary encoder
“takes” the highlighted source, connecting it to that fader channel.
The fader channel’s
audio can be assigned to
any Program bus using the
four assignment buttons
adjacent to 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.
At the right end of the
Surface are two columns of
Monitor Controls. The left
column has the Control
Room (CR) controls. Three
buttons at the top select
which source (PGM 3, PGM
4, or External) is feeding
the Switched Meter. A
large programmable Soft
button (with no default
settings) is just above six
Control Room monitor
source buttons (PGM 1 –
PGM 4, EXT 1, and EXT 2)
which set the source
feeding the Control Room
monitor and board
operator headphone outputs. A Spilt Cue button sets how cue audio is fed
to the headphones, if so enabled during console configuration.
The right column has four Event buttons; two large Timer control
buttons; a studio monitor source selector (EXT); and a large Talk to Studio
button (TB).
Figure 1-3 Surface Controls
Even though the DMX Engine and Razors are
referred to as Blades, they should not be
networked with a Wheatstone WheatNet-IP
system. DMX devices do not have the Intelligent
Networking capabilities that are built into
Wheatstone WheatNet-IP Blades and consoles.

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The CUE/SOURCE, CR, STUDIO, and HDPN controls are also rotary
encoders used primarily to control the level of the four dedicated monitor
outputs on the 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 as well as assign a source to the
different EXT, EXT 1, and EXT 2 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 in the
Engine rather than the Surface (except for the audio to the side panel
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.
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.
DMX Engine
All audio and logic connections are made on the rear of the DMX-16
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 DMX-16 Engine, rear panel
Input and Output Connectors
All audio, logic, and network connections on the Engine, other than the
two mic inputs which have female XLR connectors, use RJ45 connectors
and CAT5e or CAT6 wiring. The analog and AES audio wiring conform to
the StudioHub+ wiring convention (with two balanced analog or one stereo
AES signal on each RJ45 connector) using CAT5 cabling. The RJ45 LOGIC
connector, which has six logic contacts along with +5V and GND, is wired
per the WheatNet-IP logic convention. Figure 2-4 (page 12) has pin out
tables for the RJ45 connectors used for audio and logic.
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.
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
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

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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)
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
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 workman-
ship. 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 workman-
ship.
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 distributor 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 period. 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 im-
provements deemed appropriate by the Wheatstone Corporation but without incurring
any responsibility for modifications or changes of any unit previously delivered or to sup-
ply any new equipment in accordance with any earlier specifications.
g) THERE ARE NO OTHER WARRANTIES, EXPRESSED, IMPLIED, OR STATUTORY, INCLUD-
ING ANY WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PUR-
POSE. IF FOR ANY REASON ANY IMPLIED OR STATUTORY WARRANTY CANNOT BE DIS-
CLAIMED, 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 INCI-
DENTAL OR CONSEQUENTIAL, WHETHER DIRECT OR INDIRECT, AND WHETHER ARIS-
ING IN CONTRACT, TORT, OR OTHERWISE. NO REPRESENTATIVES, DEALERS, OR
WHEATSTONE PERSONNEL ARE AUTHORIZED TO MAKE ANY WARRANTIES, REPRE-
SENTATIONS, OR GUARANTIESS OTHER THAN THOSE EXPRESSLY STATED HEREIN.

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2 – DMX 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 DMX-16 Engine (1RU) mounts within the studio
cabinetry below the Surface location. Install a 1RU blank panel, or mount
the Engine at the top of the rack, to ensure adequate ventilation. All DMX
components are convection cooled so the DMX can be placed in air studios,
production rooms, newsrooms, voice tracking studios, or talk studios.
When locating the Surface and Engine, avoid close proximity to any
device which generates an electromagnetic field, such as large power
transformers, motors, and audio power amps using switching supplies.
LOCATING THE DMX COMPONENTS
The DMX Surface (see Figure 2-1) is designed to set on the studio
furniture countertop with its palm rest setback six to twelve inches from
the edge of the countertop. This space can be used to set a keyboard and
mouse, copy, log sheets, etc.
The DMX Engine 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 accessible since
it is where the audio, logic, and network connections for the DMX console
are made.
A 16-foot DC cable (included) connects the DMX-8 Surface to the DMX
Engine. The DMX-16 Surface has an in-line DC supply with captive DC
cable and an IEC AC cord so an 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 can power a DMX-8 Surface if it must
be located over 15 feet from where the DMX Engine is mounted.
Each size of Surface requires a straight-thru category cable (customer-
supplied CAT5e or CAT6) to connect the Surface to a port (Port 1
recommended) on the DMX 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 needs to be fastened to the
countertop for security reasons, a step-by-step procedure is listed later in
this Chapter.
Figure 2-1 DMX-8 Surface, Countertop Positioning
For the cleanest installation, we recommend drilling a cable access hole
(one to two inch in diameter) through the countertop below the Surface’s
position. Only the customer-supplied CAT5e/6 cable and the DC power
cable and connector pass through this hole, so hole size is not critical (it
could be sized to match an available hole grommet or it could be left raw
since it will be covered by the Surface).
1. Carefully 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).
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.
E

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Surface Placement & Cable Connections
Before setting the Surface back into position, remove the upper rear
cosmetic cover by first removing three 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 interface 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 Engine (connections are shown in Figure 2-3). Plug the CAT5e cable
into Port 1 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.
Figure 2-3 Engine, Rear Panel Partial View,
Ethernet and DC Power Connections
On a DMX-16 Surface, route the CAT5e cable to the Engine and plug it
into Port 1 on the ETHERNET switch. Plug the in-line DC power supply’s
IEC AC cord into an AC outlet strip fastened below the countertop.
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 into 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 on
page 10) and the two Surface cables must have been run through the hole
and plugged into the Surface, before fastening the Surface to the
countertop. 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 up and unplug the ribbon cables (one
cable on the DMX-8, two cables on the DMX-16). Set the control
panel aside.
3. Set the Surface into position and mark the countertop through the
two feet 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 is set parallel
to the countertop edge before tightening the two screws. Make
sure the two rubber feet are not overly compressed and that the
ends of 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.

12
ENGINE CONNECTIONS
To facilitate wiring the DMX Engine, Wheatstone recommends using 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 DMX 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 to this cable without problem.
All line level analog audio, AES, and logic signals connect to the Engine
using RJ45 connectors. Pin out signal list, and the standard wire colors
used for the analog and digital audio connectors and the LIO 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 CAT5/5e/6 cables, UTP has an advantage because it’s a lot
easier to crimp than STP wiring.
To simplify console wiring, RJ45 Audio Connector Adapters can adapt
CAT5 cables to the XLR, TRS, or other type connectors used on the
peripheral devices. StudioHub has a wide variety of adapters (most of
which are carried by Wheatstone and PR&E distributors). For more
information visit the StudioHub adapter web page:
http://www.studiohub.com/adapterdonglessplitterscouplers.php
When RJ45 adapters are used, generic pre-made straight-thru CAT5
cables, with RJ45 connectors on each end, can be used to quickly connect
the Engine with peripheral audio devices.
When wiring directly from an RJ45 connector on the Engine or Razor to
individual XLR, TRS, or other type audio connectors, single-pair UTP
(DataMax 5100 or similar) is perfect for AES and mono analog
connections. Dual-pair UTP (DataMax 5200 or similar) is good for stereo
connections using a single connector (like a D-Sub). When wiring to a
stereo device with two connectors, two single-pair UTP wires should be
connected to a common RJ45 to cleanly connect the two XLR or TRS
connectors—as opposed to breaking out two wire pairs from a CAT5 cable
to reach the two connectors.
The exception to the practice of using UTP cable is for the microphone
cables which terminate into the female XLR connectors on the Engine.
Room monitor outputs going to self-powered monitor speakers may also
need to use a shielded cable terminated at the monitor speaker end only.
Note: The StudioHub+ wiring convention specifies pin 4 as DC
Ground to support POE (Power over Ethernet). The Engine and
Razor RJ45 connectors do not tie pin 4 (the blue CAT5 wire) to
ground since this product does not support POE. Thus a ground
connection can only be made at the monitor speaker end. If the
monitor speaker has an unbalanced input using a TS or RCA
connector, an audio balun transformer (balanced in: unbalanced
out) or a signal matchbox must be used.
All DMX analog inputs and outputs are intended to connect to balanced
+4 dBu signals. Connect only the plus (+) and minus (-) signals from the
peripherals to to the + and - terminals on the RJ45 plugs.
Unbalanced devicescan directly connect to a DMX analog input by
connecting the low (-) signal wires (the ORG and/or GRN wire) to GND at
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 level, as compared to a balanced
signal, use the PR&E IP Navigator Device Sources tab to adjust the input
gain. Every DMX input has up to +18 dB of gain available.
When a DMX analog output needs to connect to an unbalanced device,
a matchbox or an audio balun transformer (balanced in: unbalanced out)
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 Engine or Razor chassis to connect
to ground. One way to do this would be to connect a small spade lug and
ground wire to the Phillips screw for 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
an Engine or Razor output. This can lead to component failure
since this shorts an active op amp output to ground.
Ethernet Connections
Ethernet AoIP network wiring also uses RJ45 connectors, but because
the network is running at 1000Base-T (1 Gigabit), CAT6 (or CAT5e)
cabling should always be used for the most reliable results. The DMX
Engine, like the Surface, must also connect to the 5-port Ethernet switch.

13
Use a short CAT5e/6 patch cable to go from the Engine’s single Ethernet
jack to Port 5on the Ethernet switch (shown in Figure 2-3 on page 11).
Ports 2,3, and 4, on the five-port Gigabit Ethernet switch, are available
to connect to the “setup PC” with the PR&E applications installed on it. This
PC will not need to remain connected during normal use unless the PR&E
IP Navigator is used to control signal connections. Alternately, when a
VoxPro PC will be networked with the DMX, the PR&E apps can be installed
on that PC. The remaining ports can be used to network a WNIP-
compatible media server, a Razor I/O Interface, or connect the DMX to a
dedicated AoIP Ethernet switch when multiple DMX consoles and Razor I/O
Interfaces will be networked together.
DMX POWER UP
The DMX Engine and Surface, and the Razor I/O Interface, do not have
power switches since they are designed for continuous 24 / 7 operation.
When their AC mains cable is plugged into a 90 - 240 VAC, 50/60 Hz
isolated ground circuit, each device will automatically boot up, which takes
about 90 seconds to complete.
The DMX-8 Surface is normally connected to the Engine’s PWR OUT jack
so it powers up with the Engine. The DMX-16 Surface, or a DMX-8 Surface
that’s using the DMX-16 Surface supply, requires that its in-line supply
also be plugged into a 90 - 240 VAC, 50/60 Hz isolated ground circuit.
When a Surface is powered up without its Engine, or if the Engine and
Surface aren’t communicating via Ethernet, the three stereo meter bridge
displays’ peak LEDs scan up the meters, visually indicating the Surface is
not communicating with its Engine. When the Surface and Engine connect
the meter LEDs stop scanning.
When power is applied to the Engine, the green On LED, next to the
Ethernet switch, lights up. This is followed by the green LEDs blinking on
the active Ethernet switch ports. Note that the Surface only blinks one LED
on its Ethernet Port jack since it communicates at 100Base-T. The Ports
the Engine and Razor plug into will have both green LEDs blinking since
they communicate at 1000Base-T (1 Gigabit or 1 Gb). A setup PC will also
only light one LED if its NIC does not support 1 Gb speeds.
The front panel LINK LED lights up solid when the 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 Engine is ready for use.
When a new DMX is networked with other DMX consoles and Razor I/O
Interfaces, the new DMX Engine may not be designated as a master, thus
the ROUTE MSTR and/or CLOCK MSTR LEDs may be off. This simply
indicates that there’s another device networked with the DMX which is the
system’s Route Master and/or Clock Master.
Figure 2-5 Engine Front Panel Status LEDs
If the red ERROR LED lights it indicates an error condition has occurred
in the Engine. To reset this error the Engine should be power cycled or
rebooted using PR&E IP Navigator. To power cycle it, unplug the AC cord
from the Engine, wait a few seconds, then plug the AC cord back in.
If the red error LED lights up again, this could indicate a fault in the
Engine which requires service. Contacting Wheatstone technical support
would be thus called for. See Chapter 5 (page 43) for information on
obtaining service and support for your DMX console.
CHECKING OUT THE DMX FEATURES
With the DMX Engine and Surface both plugged into the built-in Ethernet
switch on the Engine, and powered up, on a stand-alone DMX you will
have three green LEDs on the Engine’s front panel, as shown in 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!
On channel fader 1, rotate the encoder. That channel’s normal display
changes to show a list of source names with one name highlighted (Figure
2-6). The device that has the highlighted source, like Blade01 shown in
Figure 2-6, which is the default name for the DMX Engine, appears above
the white line for reference.
Figure 2-6 Selecting a Channel Source
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 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 DMX Engine). The
default names end with a signal number, like S02, to identify the
connection.

14
All inputs are set as stereo, except for Analog Input 1, which is set as
dual mono with the default names of BL01MIC1 and BL01MIC2. The other
three Analog inputs have the default names of: BL001S02, BL001S03, and
BL001S04 while the four AES inputs’ default names are BL001S05 thru
BL001S08. These match the connector numbers on the Engine.
Analog input 1 is designed to connect to MICS OUT so the two mic
preamps can be used without having to change that input’s configuration
from stereo to dual mono. If the built-in mic preamps are not used, Analog
Input 1 can be set as a stereo input using the PR&E IP Navigator.
After the Engine’s input signal names, the other source signals within
the DMX are listed: the Program buses, bus-minus signals, and various
other internal sources. Many, if not most, of these signals are typically not
set as “visible” on fader channel selectors. On a new console all signals are
set as visible to ease installing and checking out the DMX. Setting signal
visibility is covered in Chapter 3 (Page 21).
For right now, rotate the encoder until BL001S02 is highlighted (as
shown in Figure 2-6, on page 13). 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 connects the highlighted signal to the fader
channel, so now BL001S02 should be shown, in green, in the middle of the
channel display, as shown in Figure 2-7.
The space above the white line is used to show CUE, when active, EQ,
when Equalization is active, or DYN, when Dynamics is active on that
channel. Below the name, in orange, is the channel’s Mode setting. The
default setting for every channel is STEREO.
Figure 2-7 Channel Display with the Source “Analog 2 In”
To either side of the Mode name are icons to indicate source status. To
the right side you can see a faint lock icon which indicates the channel’s
LIO status (logic control status) when turned on. To the left side, if the
channel source is identified as microphone, there is a mic icon, which may
also turn red when the channel is on.
Advanced Channel Features
Every channel has three advanced channel features which are accessed
by “double-clicking” the channel encoder. “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
until CENTER is shown then double-click the encoder again.
This time all eight channel displays on a DMX-8, or the right-most eight
channels on the DMX-16, switch to show the EQ & Dynamics controls.
Each channel on the console can have its own EQ & Dynamics settings
applied to it. The Chapter 4 section: EQ & Dynamics covers how to use
these controls. For now, double-click the channel encoder again to return
to the normal channel source name display.
Note:When Mode, Pan, or EQ & Dynamics are active, if no
encoder has been touched for twenty seconds, the channel
displays revert back to their normal channel source name display.
When this occurs, the current mode, pan, and EQ & Dynamics
settings are auto-saved.
Verify that Channel 1 is still set for Stereo mode, Center panning, and
that all EQ & Dynamics selections are set Out, which is the default setting.
Note: The Mode, Pan, and EQ & Dynamics controls should be
selectively disabled, prior to releasing the console for daily use,
using the Surface Setup app, which is covered in Chapter 3.
Connect an Audio Signal to the DMX
As a first test, connect a stereo analog audio signal (like a +4 dBu test
tone or a CD player) to the ANALOG 2 IN connector, using wiring that
follows the RJ45 wiring pin out shown on page 12. This connection is signal
BL001S02, which should be the Channel 1 source.
Assign channel 1 to PGM 1,PGM 2,PGM 3, and PGM 4 (light up all
four assignment buttons). Set the channel fader to the unity gain mark
(align the middle line on the fader knob with 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.
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 db FS
(dB FS = 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 when the PGM 3
or PGM 4 button is lit.
If desired, you can connect a test set to the four analog outputs to
confirm that each is putting out +4 dBu. Likewise, connect a digital test
set to the four AES outputs to confirm they are putting out -20 dbFS.
To check the four monitor outputs use a powered monitor amp to
connect to the CR, STU, CUE, and HDPN (headphone) outputs. You could

15
alternately make up an RJ45-to-TRS jack adapter cable to plug in
headphones to temporarily check the audio by connecting the two – signal
wires to the TRS ground terminal). Since this connection grounds the two
– (minus) signals on the balanced outputs it should not be left connected
for an extended period.
Plug the test cable into the CR output. In the left column of the Monitor
section, select PGM 1 as the source for the Control. Rotate the CR
encoder to adjust the level of the CR output. The four blue/yellow bar
graphs in the two monitor displays show the relative levels of the Cue,
CR, STU, and HDPN outputs (Figure 2-8).
Figure 2-8 Monitor Displays Show the Monitor Output Levels
Move the test output to the HDPN connector. Its output level is
adjusted by the HDPN encoder in the right column of the monitor
section. Its level is shown in the right display just above the encoder. This
control also controls the output of the Surface headphone jack.
Move the test output to the STU output. A source must be assigned to
the Studio since NoSource will be shown in the right display. Press/ hold
the EXT button, just above the STUDIO encoder, until it begins to blink
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.
Press and release the EXT button (it lights up) to select PGM 1, which is
then shown in the right display. Adjust the STUDIO encoder to adjust the
STU output as required.
Move the test output cable to the CUE output. Press the Cue button on
channel 1 so that it lights (CUE is shown in the channel display). Adjust
the CUE encoder. Note that even though this is a two channel output, the
cue bus is a mono signal.
The proceeding should give you a basic understanding of DMX console
operations. If you have a list of audio devices and which inputs they’ll
connect to then you can now name the input signals and configure the
console for your application, since it’s a lot easier for board operators to
use the console when the source names are: HOST MIC, CD 1, VOXPRO,
PLAY 1, PLAY 2, etc., rather than BL001S04, BL001S08, and so on.
Chapter 3 covers how to do this using the PR&E applications that are
included on the USB flash drive that shipped with the DMX console.
The rest of this chapter covers additional details about the Engine and
Razor audio and logic connections.
ENGINE SIGNAL NOTES
This section covers the DMX Engine connections and how the PR&E apps
are used to configure those signals or connections.
Mic Preamps - The two female XLR connectors allow one or two
dynamic or condenser mics to plug directly into the Engine. Two low noise
preamps boost the microphones up to line level. Each preamp has its own
input trim control and a 48-volt phantom power on/off switch. Set the
phantom switch to on to power condenser mics. A yellow LED lights to
show phantom power is active. For dynamic mics, like the RE-27, set the
phantom power switch to off.
The MICS OUT RJ45 connector carries both mic preamp outputs: Mic
Preamp 1 is the “left channel” and Mic Preamp 2 is the “right channel.”
To use the built-in mic preamps, connect a short straight-thru CAT5
cable from MICS OUT to the ANALOG IN 1 input. This particular
connection is preconfigured for two mono signals, rather than a stereo
signal as all other Engine and Razor inputs are set by default. If you aren’t
planning on using the built-in mic preamps this input can be connected to
two external mic processors. If no mics are used the two mono Analog In
1 signals can be set as a stereo input using the PR&E IP Navigator.
The two mic inputs have the default names of: BL01MIC1 and
BL01MIC2. These two default signal names can be renamed to MIC 1 and
MIC 2 or HOST MIC and GUEST—any name of up to eight characters can
be used. This is done using the PR&E IP Navigator app’s device Sources
tab, as shown in Figure 2-9. To access this view, click on the Blade name
in the System Dock then select the Sources tab. Click on the default name
and click Edit… to open an edit window or just double-click on the name
and type in a new name.
Figure 2-9 Renaming Signals in PR&E IP Navigator
Logic - The Engine and Razor I/O Interfaces each have one RJ45 LOGIC
connector to connect hard-wired logic to eternal devices like warning light
interfaces and remote start commands. Each LOGIC connector has six

16
logic connections (on terminals 2 – 7) plus ground on terminal 1 and +5
volts on terminal 8.
Each logic connection is individually configured, again using PR&E IP
Navigator, to set its logic function. Each connection can be set as either a
logic output, like On Tally, Room Mute, Start Pulse, etc., or as a logic input
like, Channel On, Channel Off, Cue, etc.
There are also 128 Soft LIO (SLIO) logic signals on each Engine and
Razor to allow WNIP devices, like media servers, to control the console
channels. These connections are also associated with source signals and
configured for either input or output logic using the PR&E IP Navigator.
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
IP Navigator. Up to 18 dB of gain or trim can be applied to any input.
The analog inputs, labeled as IN 1-4 on the Engine, have the default
names of BL01MIC1, BL01MIC2, BL001S02, BL001S03, and BL001S04 in
signal lists. Inputs 2 – 4 can also be set as two mono inputs in PR&E IP
Navigator to allow two independent mono signals, like a pair of phone
hybrids, to connect to any one input.
Digital In – The four digital inputs are designed for balanced stereo
AES/EBU signals which, in most cases, can alternately have S/PDIF digital
signals connected to them. These connectors are labeled as DIGITAL IN
5–8 on the Engine. Their default names are BL001S05 – BL001S08 in the
signal lists.
There are also gain/trim settings in PR&E IP Navigator to adjust the
input levels as required. Any AES/EBU input can also be split into two
mono signals, a common occurrence with digital phone systems. Digital In
8 can also be used as a Sync input to synchronize the DMX to an external
clock signal.
PGM Outputs – There are four stereo analog outputs which, by default,
output the PGM 1 – PGM 4 buses. Any of these outputs can be set to
connect to another source using the PR&E IP Navigator crosspoint map.
Note that these outputs cannot be split for dual mono operation. Each
output is a balanced +4 dBu signal. These connectors are labeled as PGM
OUT 1-4 on the Engine.
The four digital PGM 1 – PGM 4 outputs have the same set of signals as
on the analog PGM 1 – PGM 4 outputs. These four outputs can only
connect to balanced AES/EBU inputs. Connecting them to unbalanced
S/PDIF inputs will not work.
Monitor Outputs – These four stereo analog outputs are designed to
connect to powered Cue, CR Monitor, and Studio Monitor speakers, and to
an outboard headphone amp. The four Surface controls (CUE, CR,
STUDIO, and HDPN) control their output levels. CUE connects to one or
two powered cue speakers (the cue bus is mono); CR connects to powered
Control Room monitor speakers; STU connects to one or two powered
speakers for a talk studio; and HDPN connects to an outboard headphone
amp.
Note: The built-in ¼” headphone jack on the right side of Surface
(in-line with the OLED displays) is also controlled by the HDPN
level.
Any of these four outputs could alternately be assigned to a different
source using PR&E IP Navigator to yield additional analog line level outputs
that are unrelated to their default signal.
One example: if no Studio is associated with the console then the STU
output is not needed, thus that output could be repurposed to feed a
recorder by setting the Studio Output to a fixed level (using the DMX
Surface Setup app) and using the EXT button and STUDIO encoder to
select the source to feed the recorder.
Callers & Remotes
The DMX console uses the WheatNet-IP bus-minus convention to create
a unique To Network return audio signal for every active caller or remote.
Callers and remotes are collectively known as 4-wire or Telco devices.
These type devices have a From Network audio signal, which is dialed up
and taken on a fader, and a To Network audio signal which goes back to
the caller or remote so they can hear the board operator or the air signal.
Which bus is used to create the bus-minus signal is set in the VDips
Page Tab in the Surface Setup app (Figure 2-10 on the next page). Each
caller or remote has a bus-minus / Base Mix assigned (typically PGM 1) to
create the To Network signal when that caller or remote channel is on.
When the caller or remote channel is off, a hidden bus called Off Line
(OL) is used to create the To Network signal by using the PGM 4
assignment buttons, which get repurposed as Off Line assign buttons when
the setup option PGM4 Off Line is enabled (Figure 2-10 on the next page).
If that option is enabled, typically PGM4 Pre Fader and PGM4 Pre On are
also enabled to allow hands-free conversations between the board
operator and a caller or remote.
When a caller or remote is dialed up on a fader channel, the To Network
return audio signal can be automatically connected to the caller or remote
by using the PR&E IP Navigator’s Associated Connections feature. It’s a
system monitor feature which can be setup to connect numerous signals
together in response to some other action, like the phone being taken on a
specific fader channel.
As an example, figure 2-11 on the next page shows two Associated
Connections for the PHONE. When the PHONE is dialed up on fader channel
7 (the Triggered Connection), three Associated Connections are then made
to, in this case: connect fader 7’s bus-minus (DMXBM07) to the HYBRID
output; connect the host mic direct out signal (DMXBM01) to TREC L; and

17
connect the Phone caller to TREC R. These signals connect to the TEL REC
signal that connects to an output going to a VoxPro or other call recorder.
Figure 2-10 Typical Off Line Bus Settings for a Caller
In a typical use, the Host Mic is assigned by itself to the OL bus, which
means its PGM 4 button is lit. No other channels are assigned to PGM
4/OL. The caller channel is off and assigned to CUE. This setting allows for
hands free conversation between the caller and the board operator. If
there are additional mics that should be able to talk to the caller (like a
Host or call screener) then their channels would be assigned to PGM 4 as
well. They would talk to the caller using their mics and hear the caller
through the cue speaker.
Figure 2-11 Using PR&E IP Navigator’s Associated Connections
When the caller or remote goes live (their channel is turned on), their
bus-minus audio switches from the OL bus to, typically, the PGM 1 bus
(the bus is assigned in the DMX Surface Setup app, see Figure 2-10). The
caller or remote then hears everything going to air—minus their own From
Network voice.
Each caller and remote device’s From Network signal typically connects
to a Razor analog or digital input with two devices sharing a common
stereo connection set as two mono inputs. A Razor mono analog or digital
output is then connected to the To Network input on the caller/remote
device. This output has the bus-minus signal for the caller/remote
connected to it.
Input Level Adjust
The PR&E IP Navigator has level controls for each source and destination
on the 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 signals. To view and
adjust the level controls, click on a device name in the System dock to
highlight the name, selecting that device. Click the Sources tab to adjust
the input levels (Figure 2-12). Click the Destinations tab to adjust the level
going to any of the eight outputs on the Engine (the four PGM Outputs and
four Monitor outputs) or optional Razor I/O Interface.
Figure 2-12 PR&E IP Navigator’s Level and Balance Controls
The bottom half of the Source and Destination tabs (Meters:) have
sixteen meter displays for the eight stereo inputs or eight stereo outputs.
Below the meters are level (LVL) controls for mono inputs. On stereo
inputs there is one level and a balance (BAL) control. These controls are
placed prior to the app’s Meter displays so any change you make to the
level is reflected in the meter movements when audio is present on that

18
input or output. Since the level control affects the audio in real time, use
caution on live consoles when adjusting these levels.
Level can be adjusted in three ways:
•Click/drag the level control up (for gain) or down (for trim)
•Click above or below the level control to add or subtract .5 dB for
each click
•Directly enter the desired gain or trim amount in dB by
highlighting the dB number below the level control and entering a
new number from -18.0 up to 18.0 and pressing Enter.
The meters follow the adjusted level control. The top of the average bar
graph should be around the -20 mark and the peak LED should be around
the -8 mark to allow for some headroom. On the DMX Surface meters the
average bar should just light up a couple of the yellow LEDs.
One common use for level control is to boost the gain of the input from
an unbalanced device. Most so-called “Prosumer” devices are unbalanced
even when using ¼” connectors (which are often TS, not TRS), thus their
nominal output levels are 300 mV vs. the 1.2 V nominal level from a
balanced device. Raising the gain by up to 18 dB can compensate for this
level difference without needing to add a balanced level match box.
Monitor Muting & Hot Mic Logic
Although any signal can be set to mute an output, 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 Setup app’s VDips page tab,
partially shown in Figure 2-13.
Enable CR for all microphone inputs in the control room or Studio for all
studio microphones. If a cue speaker is used, enable Cue (as shown in
Figure 2-13) for the room it’s in (Control Room or Studio). Typically,
Headphone (Hdpn) is never muted so it should always be unchecked.
When a mic channel is turned on, the On Air display on the meter
bridge is activated, along with a Mic icon on the channel display, by
enabling a Studio Tallies control. Typically, Tally 1 is used for the Control
Room and Tally 2 is used for a Talk Studio. Tallies 3 and 4 can be used to
light up warning lights at two other locations, like a Producer or call
screener location and a newsroom.
The studio tallies are driven by Studio 1 In-Use up to Studio 4 In-Use
commands in the PR&E IP Navigator. These commands are used to trigger
outputs on the Engine or Razor LOGIC connector to activate outboard
warning light interfaces (Henry Superelay, Sonifex On-Air lights, M!ka mic
arm lights, etc.) to light up a Hot Studio Light. To do this, in the PR&E IP
Navigator app’s System Dock, select the Engine (Blade 001) and view its
Destinations tab (Figure 2-14).
Figure 2-13 VDips Page Tab Settings for a Control Room Mic
Figure 2-14 Assigning Logic Outputs
Click Add… to open an Add Signal window. Since this is a logic only
signal, click the LIO only button then click the LIO Info tab to open the
Logic Assignments window (shown in Figure 2-15 on the next page). Note

19
that the default destination name for the first new logic signal is BL01D01,
as shown at the bottom of both windows. The LIO Info tab shows any logic
settings already assigned. On a new logic signal no settings are assigned
so click Add to open the Assign LIO window (Figure 2-15). Since we want
output logic, enable the Direction: as Output. Next, select the Function:
from the drop down menu items. In this example, select Studio 1 In-Use
since Studio 1 is usually set as the Control Room.
Figure 2-15 Assigning LIO Direction & Function
Note that the physical pin number on the LOGIC connector is highlighted
to indicate which pin will have this logic command. Click Apply to assign
the Logic then click Close to close the window.
Before clicking Finish to close the Add Destination Signal window, note
the signal name (for the first logic signal you add it will be BL01D01) since
you’ll want to rename this signal. In Figure 2-16 the default name
(BL01D01) has been changed to CR WARN by double-clicking on the name
and typing in the new name, using up to eight characters.
Figure 2-16 Renaming the LIO Signal
Now, switch to show the Crosspoint map (click on System then the
Crosspoint tab). Locate the source: DMXTaly. That signal has the logic
commands coming from the console, so connect it to the new CR WARN
destination by clicking that crosspoint. A square will show that’s a logic
only connection. In Figure 2-17, a second LIO destination, named STU
WARN was also assigned. Both destinations connect to DMXTaly.
When a CR Mic channel is turned on you’ll now get a contact closure
between pin 2 (CR WARN) and pin 1 (ground). Likewise, if you add
another LIO to pin 3 for Studio 2 In-Use, then when a Studio Mic channel
is turned on, you’ll get a contact closure between pin 3 (STU WARN) and
pin 1 (ground).
Figure 2-17 DMXTaly Logic Connected to CR & STU Warning Outputs
RAZOR I/O INTERFACE NOTES
Each Razor has eighteen RJ45 connectors: eight for the audio inputs and
eight for the audio outputs; one for Logic GPIO; and one for Ethernet to
connect the Razor to the DMX Engine Ethernet switch (or to a facility AoIP
switch for multi-DMX console installations).
Figure 2-18 Razor 16AD rear panel connections
On a Razor 16A, sixteen RJ45 connectors are used for the analog inputs
and outputs, each carrying one stereo analog signal. The Razor 16A also
has two built-in mic preamps, like the DMX Engine, so it also has two
female XLR Mic Insand one Mics Out RJ45 connector, which can be
jumpered to one of the analog inputs 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 IP Navigator.
On the Razor 16D, the sixteen RJ45 inputs and outputs each carry one
stereo AES signal, but any input or output can be split into two mono
signals.
On the Razor 16AD, shown in Figure 2-18, the first four RJ45 jacks (IN
1 – 4) have stereo analog inputs. The remaining four IN RJ45 jacks (IN 5 –
8) have four stereo AES inputs. The first four RJ45 OUT jacks have the

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analog outputs (OUT 1 – 4) while the last four RJ45 jacks (OUT 5 – 8)
have the stereo AES signals.
Note: Each Razor has eight paired incoming and eight paired
outgoing audio streams over its Ethernet AoIP connection. When a
Razor output is split into two mono outputs, each mono signal will
consume one of the eight paired incoming audio streams. This
means that if one splits four stereo outputs into eight mono
outputs, and all of those mono outputs are active, the remaining
four stereo outputs cannot be used simultaneously because all
eight incoming audio streams are being consumed by the eight
mono signals.
Analog I/O - All RJ45 analog inputs are designed for balanced +4 dBu
signals but unbalanced -10 dBv signals can also be connected to an
input—without needing a match box, since each input has input gain/trim/
balance settings in PR&E IP Navigator. Up to 18 dB of gain or trim can be
applied to any input.
On a Razor 16AD, the analog inputs are labeled as ANALOG IN 1 - 4
and the outputs are ANALOG OUT 1 – 4. Any input or output can be
changed from stereo to dual mono in the PR&E IP Navigator to allow two
independent mono signals, like a pair of phone hybrids, to connect to any
one input or output (with the output limitations outlined in the Note on
page 19).
Digital I/O – The digital inputs are designed for stereo AES/EBU signals
which, in most cases, can alternately have S/PDIF digital signals connected
directly as well. There are also gain/trim settings in PR&E IP Navigator to
adjust the input levels as required.
On a Razor 16AD, the digital inputs are labeled as DIGITAL IN 5 - 8
and the outputs are DIGITAL OUT 5 – 8. Any input or output can be
changed from stereo to dual mono in PR&E IP Navigator to allow two
independent mono signals, like a pair of signals from a VX phone system,
to connect to any one input or output (with the limitations outlined in the
Note on page 19).
Logic - The RJ45 LOGIC connector is used to connect hard-wired logic
to external devices like warning light interfaces and tallies. Each LOGIC
connector has six logic connections on terminals 2 – 7 plus a ground
connection on terminal 1 and +5 volts on terminal 8. Each logic connection
is individually configured, using PR&E IP Navigator, to set it as a logic
input or output and to assign its logic function. Any connection can be set
for a logic output, like a Tally, Room Mute, Start Pulse, etc., or as a logic
input, like Channel On, Channel Off, Cue, etc.
Front Panel Controls - The Razor has a front panel display (Figure 2-
19) which displays its system name, IP address, and the version of code
running on that Razor. There are two additional screens which show the
signal Input levels and signal Output levels on that Razor’s input and
output jacks. Rotate the encoder to step through the different screens.
Figure 2-19 Razor front panel OLED and Encoder