DIMENSION ONE
SURROUND SOUND TELEVISION AUDIO CONSOLE
Audio For Television—Evolved.™
DIMENSION ONE
SURROUND SOUND TELEVISION AUDIO CONSOLE
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Wheatstone is a trusted builder of
audio-for-television consoles and has
been for more than two decades.
So, when we decided that design
considerations for Dimension One were
to be wide open, we were coming from
a position of proven experience to
create the ultimate
small-footprint audio
mixer with EVERYTHING
a television facility could
need to serve the multiple
media requirements a
modern station has to address.
Moving the DSP and logic outside
of the console was a natural –
Wheatstone has been doing that with
our Network First™ Initiative for years.
With Dimension One, you get an
incredibly nimble, router-based
networkable console that’s flexible,
expandable and incredibly easy to use
and service. One that is future-proof
and will keep you up and running
no matter what.
AND, Dimension One is priced so that
it fits perfectly in every medium sized
facility or remote truck.
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DIMENSION ONE
SURROUND SOUND TELEVISION AUDIO CONSOLE
Today’s television productions demand more from
an audio console than ever before. More power.
LOTS of power. Smaller footprint. More affordable.
MUCH more affordable. Completely accessible.
Built to last using components that are trusted and
proven. That is exactly what Wheatstone delivers
in Dimension One.
Drawing on the power of Gibraltar™, Wheatstone’s
blindingly powerful digital signal processing (DSP)
engine, and based on Wheatstone’s Network
First™ design philosophy, Dimension One offers
a feature set never before seen in a console of
its class.
The Dimension One control surface uses motorized
faders. The surface is layered, so that each fader
controls two sources, each of which can be mono,
stereo, or full 5.1. Faders can be “paged” together
or separately. Each fader also has a “spill function”
- if the fader is controlling a 5.1 surround source,
this allows its individual channels to spill out onto
six separate faders. LCD displays always indicate
a fader’s current source to eliminate operator
confusion.
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Dimension One features Automatic Mic Mixing,
which automatically optimizes the levels of
several microphones during dialogue, and
Audio-Follow-Video (AFV), which allows the
console to automatically control input channels
based on the video source currently being taken.
News and sports coverage just became more
effortless than ever.
The console features two 5.1 mixing busses.
Upmixing and downmixing between stereo
and 5.1 sources and busses is built in, along
with a full complement of stereo and 5.1
surround panning controls.
Dimension One provides an impressive
16 mix-minus busses and eight AUX sends.
Four DCMs (digitally controlled masters) and
16 true audio groups are available. Each input,
each subgroup, and each program bus output
has equalization and dynamics processing
available. A comprehensive confidence feed
facility is also included.
• 1,024 channels of digital signal processing
• Eight AUX sends
• 72 channels, all 5.1 capable
• Two 5.1 mixing busses
• Accepts up to 3,072 audio inputs
• A full complement of stereo and 5.1 surround
panning
• Any audio source can connect to any fader
• Any audio source can connect with any kind of
signal including: analog line level, analog mic
level, AES digital, MADI, SDI, and GPIO
• Automatic Mic Mixing
• Audio-Follow-Video (AFV)
• Upmixing and downmixing between stereo
and 5.1
• 16 mix-minus busses
• Four DCMs (digitally controlled masters)
• 16 true audio groups
• Each input, each subgroup, and each program
bus output has equalization and dynamics
processing available
• Each fader also has a “spill” function
• LCD displays always indicate a fader’s current
source to eliminate operator confusion
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Five things you can do with Dimension One
that you can’t do with similarly-priced
consoles of conventional architecture.
1. Assign any source of any type to
any fader
2. Hot-swap components without
powering down or disassembling
3. Add additional control surfaces
which share the same I/O
4. Run automation, even without a
physical control surface
5. Switch live, on the fly, between
air and protect sources on the
same fader
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TV Audio Console Comparison
Feature
8
Conventional
Dimension One
Max Inputs
256
3072
DSP Channels
700
1024
Redundant DSP
NO
YES
Networked I/O
NO
YES
Any source, any fader
NO
YES
Hot-swappable components
NO
YES
Redundant A/B Sources
NO
YES
Easy access for maintenance
NO
YES
All faders 5.1 capable
NO
YES
Sources can be any type
NO
YES
Share I/O without add'l hardware
NO
YES
Audio Follow Video
YES
YES
Auto Mic Mixing
YES
YES
Upgrade control surface only
NO
YES
DIMENSION ONE: Expensive Features/Mid-Market Price
The DSP power and intelligence behind Dimension One’s design have
enabled us to include features that have never before been seen in a
product in this price class. These features, normally seen only on
high-end TV audio consoles, afford operator convenience as well as
impressive automation capabilities.
Automatic Microphone Mixing
When airing a panel discussion, forum, or other program where many
microphones are located close together, an audio operator has his work
cut out for him. Simply leaving all the mics open all the time will result in
an ugly, comb-filtering effect that will make the room sound hollow. The
operator must constantly pay attention to the discussion in progress, and
keep unused mics pulled down. There are many opportunities for errors
which are obvious to the audience. Automatic Microphone Mixing takes
this difficult task out of the hands of the operator. By engaging this feature
on each of the microphones, the operator allows the console to monitor the
level coming from each microphone and automatically bring up only those
that are being spoken into. The rest are kept pulled down to low levels until
they become active.
Audio Follow Video (AFV)
Audio Follow Video works in conjunction with the video production
switcher or production automation system. When engaged, the audio
console will automatically crossfade between inputs as the switcher or
automation system cuts or dissolves between video sources. This feature
can either supplement the work of an audio operator, allowing him to
concentrate on sweetening and other tasks, or in some cases it can
stand in for the audio operator during simple operations such as
integrating remote broadcasts with a local anchor.
Spill
Usually, it’s extremely convenient to be able to control the level of an entire
5.1 surround source package with a single fader. Sometimes, however, it is
necessary to individually trim the levels within that package. For example,
we might need to knock down the subwoofer level, or increase the center
channel gain slightly. On the Dimension One, this is easy. Just press the
“Spill” button on the fader. Instantly, the six signals of the 5.1 source will be
spread across six separate faders and labeled for you, and the motorized
faders will snap to the current levels. Make your adjustment, turn spill off,
and everything switches back to normal.
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DIMENSION ONE ARCHITECTURE: Network First™
Audio for television, it’s been said, is more complicated than
video. For every video scene, there are multiple channels of
audio that must be routed, mixed, edited and made to sound
natural and seamless. This typically involves 5.1 surround
sound and many sources, so the need for audio consoles
that can handle it all has created boards that have become
bloated and inefficient, cramming way too much technology
into too small a space (see right). Ironically, to accommodate
this, consoles have become physically too big for today’s
increasingly-cramped production environments.
Enter Wheatstone.
Traditional “In Box” Design
Control Surface
Internal routing
Digital Signal Processing
Inputs/Outputs
Logic Functions
Mix Engine
DIMENSION ONE Design
With our Network First technology, we’ve moved everything
essential to audio routing, logic and processing out of the
console and into a rack, accessible via the network
(represented by the cloud at right). This allows a compact,
efficient control surface to sit where an overgrown traditional
console once sat. It provides facility-wide access to all of
your audio, regardless of where it’s coming from. You can
route any audio source to any fader on any control surface
within your network. Additionally, because we’ve designed
our rack cages with front access and full hot-swappability,
you’ll never need to tear apart a console to upgrade, repair
or otherwise access its components. This translates to 100%
uptime and unprecedented “futurability”.
Interactive
Digital Network
Digital Signal
Processing
Inputs/Outputs
Logic Functions
Mix Engine
Control Surface
With all the audio traveling on a network, the ability to physically
bring in audio sources from wherever you need via a single Cat-5
cable is realized. Need a dozen inputs from Studio A? Place an I/O
box there and plug it into the network. Same with any place there’s
a mic or audio feed - up to 3,072 of them! Sound ridiculous?
See NUMBERS COUNT on the facing page.
Control
Surface
Operator Sees
1,024 Channels
of Digital Signal
Processing
Not Seen
By Operator
Up to
3,072
inputs
Automatic
Mic Mixing
Upmixing
between
Stereo and 5.1
Eight
Aux
Sends
All 72 faders
are 5.1
capable
Any Input
can connect
to any Fader
Audio-FollowVideo
Two 5.1
Mixing Busses
Downmixing
between
5.1 and Stereo
16
Mix-Minus
Busses
16 True
Audio
Groups
Stereo and 5.1
Surround
Panning Controls
Four Digitally
Controlled
Masters
Equalization and Dynamics Processing Available for
Each Input, Subgroup, and Program Bus
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Finally, all of this comes together for
the operator in a control surface - itself
a networked device that connects with a
single cable. This surface has the ability
to control and manipulate the network
and access its audio and processing
resources, just as the control surface of
a more conventional console controls its
inner workings. To the operator, the look
and feel is completely familiar.
Since the entire system is modular, its
components can live wherever you need
them. Multiple control surfaces can access
ANY audio from ANYWHERE on the network. No more making concessions in the
form of dedicated input strips or physically
rerouting inputs for different applications.
DIMENSION ONE DSP: Numbers Count - No Restrictions!
MORE THAN ENOUGH DSP TO DO THE JOB: There are 1,024
channels of processing available in Dimension One. Sound like a lot?
It is! For a modern studio, consider that for every input (and there are up
to 72 input channels on this control surface) you’ll need a minimum of
5.1 channels of processing as well as 2 channels of stereo processing.
Add to that processing for EQ, compression, stereo mixing, monitoring,
program outputs, etc and you’ll see that it all makes sense.
72 inputs x (5.1 [surround] + 2 [stereo]) = 576
You’re Covered...Up to 3,072 Audio Inputs
The Gibraltar™ Mix Engine is the powerhouse
of the Dimension One. Its modular design uses
multiple Gibraltar DSP cards to provide the
mixing, bussing, and processing power which
the control surface presents to the operator.
The amount of DSP processing available can
be scaled to the size and complexity of the
intended installation and to allow for
future expansion.
EXTREME FLEXIBILITY: With 3,072 audio inputs simultaneously
available on the network, you’ll never have to repurpose your inputs
again. This kind of unrestricted access means your throughput is greatly
streamlined AND your flexibility options are SIGNIFICANTLY increased.
This is unprecedented in a console of this size and price, making it the
perfect choice for any mid-sized studio or remote truck.
The Gibraltar Mix Engine has an internal,
modular power supply and has room for a
second one for full power redundancy. A
“hot standby” Gibraltar DSP card can also be
installed and will seamlessly take over the
functions of any failed DSP card.
NO BLOCKOUTS: Of course having 72 simultaneous inputs for a
single production is not an every day occurrence, but since you have
completely unrestricted routing capabilities, having all faders available
to dial up whatever mix you need means the days of having to block out
channels based on input type are a thing of the past.
DIMENSION ONE FAILSAFES: Keeping You Live
REDUNDANT SOURCES: With the A/B source selector provided
on each fader, if the primary feed, “A”, goes silent, an operator
simply presses the “B” source selector to recover audio. Because
the system supports such a vast number of inputs, there’s room
to provide these redundancies without the need for patching or
external switching.
REDUNDANT COMPONENTS: If a DSP chip fails in a traditional
console, it tends to take the entire card with it, leaving the board
dead. Thus, having a backup DSP chip on the same card is not
really a solution. With Dimension One, I/O cards can be doubled
up, and a hot-spare DSP card can be utilized with automatic
failover in the event of a problem with the primary engine.
Because any source can be assigned to any fader, even
catastrophic damage to a fader module on the console
(as from a drink spill or falling object) only means that the
damaged faders are out of action. The sources can be
rerouted to other faders, and the show goes on.
REDUNDANT POWER: External, rack-mounted, modular
power units can be quickly replaced while the console
continues to operate. Each of the network components
can also be redundantly powered.
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DIMENSION ONE Control Surface
Input Module
SOURCE: Rotate the knob to select a source,
press the knob to take that source.
A and B sources allow a redundant source to
be preset for immediate backup use.
GAIN: Allows gain of an incoming source
to be trimmed. PHANT switches phantom
power (mic inputs only).
WILD: Programmable knobs and switches
which can be assigned to a variety of
functions.
BUS-: Allows the channel strip’s signal
to be subtracted from a bus, creating an
automatic mix-minus output.
UPMIX/DOWNMIX: Allows 5.1 sources to
be downmixed to stereo, or stereo sources
to be upmixed to 5.1 surround.
EQ, GATE, COMP: Activates a parametric
equalizer, a noise gate, and a compressor/
limiter on the channel strip. Controls are in
the master section or can be assigned to
WILD controls.
MIX MINUS: Gives a visual indication of
which mix-minus busses this channel strip
currently feeds.
AFV: Engages Audio-Follow-Video, allowing
this channel strip to be switched with video
sources.
SET: Selects this channel strip to be
modified by controls in the master section.
SPILL: For 5.1 sources, spills the source
channels onto adjacent faders for individual
control.
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PAGE: Switches the channel strip from one
page of sources to another individually. This
can also be done globally.
DCM: Visual confirmation of DCMs to which
this fader has been assigned.
SOURCE DISPLAY: Displays the name of
the selected source on this channel strip.
ON: Switches the channel strip’s audio path
on and off.
A-MIX: Press to enable this fader to
participate in automatic mic mixing.
Overpress to make this fader the
priority source.
PFL: Pre-Fader Listen. Allows a source’s
audio to be singled out for detailed listening.
FADER: Penny + Giles motorized longthrow fader.
DIMENSION ONE Control Surface
Master Module
EQ, GATE, COMP: Allow a parametric EQ, a
noise gate, and a compressor/limiter to be
inserted into the mix bus signal path.
SET: Selects this mix bus for modification or
adjustment by controls in the master section.
ON: Switches the mix bus signal path on
and off.
DCMS: LEDs provide visual confirmation of
which DCMs this bus master fader has been
assigned to.
PFL: Pre-Fader Listen allows the mix bus to
be selected for listening on the PFL bus.
FADERS: Motorized Penny + Giles longthrow faders.
MASTERS: LEDs provide visual confirmation
of which output busses this group master
has been assigned to.
EQ/GATE/COMP: Allows a parametric
equalizer, a noise gate, and a compressor/
limiter to be inserted into the group’s signal
path.
SET: Selects a group for modification using
controls in the master section.
DCMS: LEDs provide visual confirmation of
which DCMs this group master fader has
been assigned to.
G1-G16: Switches the group master signal
path on or off.
PFL: Pre-Fader Listen allows the group to be
selected for listening on the PFL bus.
FADERS: Penny + Giles motorized longthrow faders.
GRP PAGE: Switches the fader from one
page to the other individually (e.g. from
Group 3 to Group 11).
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DIMENSION ONE Control Surface
Monitor Module
MASTER LEVELS (TOP LEFT): One mix-minus
or aux bus can be selected using the MASTERS
buttons. With a bus selected:
TB: Engages talkback to that bus.
GAIN: Adjusts the master level of that bus.
PFL: Selects that bus for listening on the
Pre-Fader Listen bus.
(TOP RIGHT)
PFL: Adjusts the level of the PFL bus output.
MUTE/DIM: Adjusts the level reduction that results
when a monitor section DIM button is pressed.
DEFEAT buttons: The PFL and control room
monitor outputs normally mute when a local
microphone is selected to prevent feedback.
These buttons override that automatic behavior.
TB GAIN: Adjusts the level of the talkback source.
TEST TONES:
SELECT: Rotary control used to select frequency
or level of the test tone.
FREQ: Display or adjust the tone frequency.
LEVEL: Display or adjust the tone level.
ASSIGN: Sends the tone generator signal to a
destination with its SET button pressed.
PINK: Causes the tone generator to output pink
noise rather than the selected tone.
ST ID: Selects a STEREO ID tone.
ON: Enables the tone generator.
COPY: Settings can be easily copied from one fader
strip to another, or to many others, using these
controls.
SWITCHED METERS:
DISPLAY: Shows the name of the source being
read by the switched meters on the meter bridge.
SELECT: This rotary control allows selection of a
new source for the switched meters.
TAKE: Takes the selected source.
EQ controls: Four fully parametric EQ bands
with frequency, bandwidth, and boost/cut controls.
The upper and lower bands can be configured as
shelving equalizers by switching on the green
“SHELF” buttons. These controls operate on the
signal which has its SET button pressed.
PHASE REVERSE: These buttons invert the left or
right channel phase of the selected source.
HPF: Frequency selector and on/off button for a
24dB/octave Butterworth high-pass filter tunable
from 16.1 Hz to 500 Hz.
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SYSTEM ROUTER: Allows sources to be assigned
to input channels, and destinations for output mixes
to be selected.
SOURCE/DESTINATION: Display the name of the
source or destination selected.
LOCATION: Display the physical location of the
source and destination.
CLEAR: Allows clearing a currently routed source,
or deleting a destination from the list of locations
a source is feeding.
X-Y Set: Changes the controller to function as
a conventional X-Y controller for sources and
destinations that are not associated with the
control surface.
BUS ASSIGN: Assigns the selected channel strip
to any of the console’s four mix busses (two stereo,
two 5.1 surround).
GROUP ASSIGN: Assigns the selected channel
strip to any of 16 true audio groups.
DCM ASSIGN: Assigns the selected channel strip
to any of four Digital Control Masters.
MIX-MINUS ASSIGN: Assigns the selected
channel strip to any of 16 mix-minus busses.
MODE BUTTONS: Select one of the following
modes for the selected channel strip or monitor
bus:
ST: Selects stereo mode.
LT: Selects left-channel only mode.
RT: Selects right-channel only mode.
MONO: selects mono mode.
BLEND: Selects BLEND mode.
SURR: Selects 5.1 Surround mode.
PFL CLEAR: Turns off any PFL buttons which might
be selected anywhere on the control surface.
EVENTS SECTION: Allows storage and retrieval
of snapshots of the entire control surface with
all settings, sources, and selections. Up to 100
different events can be stored with descriptive
names, and recalled instantly.
MONITOR MIX SOURCE SELECTION (bottom right
above the “headphone” and “control’ sections):
Allows selection of any source or bus to be
monitored by the selected monitor output below,
designated by the SET button in that section.
Sources can be selected using the rotary knob and
display, and engaged with the TAKE button.
PRESET: This display and button allow a second
source to be made ready for quick access.
LPF: Frequency selector and on/off button for a
24dB/octave Butterworth low-pass filter tunable
from 1 KHz to 20.2 KHz.
PRE-PROGRAMMED MONITOR MIXES: These
four buttons select pre-configured monitor setups
for each of the four main mix busses.
SURROUND: Adjusts the surround panning of the
selected source.
PAN (L/R): Moves the signal from left to right in
the surround image.
SPREAD: Adjusts the width of the signal within
the surround image.
LFE: Adjusts the amount of signal sent to the LFE
(subwoofer) channel of the 5.1 image.
PAN(F/R): Moves the signal from front to rear in
the surround image.
STUDIO1, STUDIO2, HEADPHONE: Level
controls and DIM/Talkback buttons for two
studio and one headphone output. The mix
being monitored is displayed in the MIX
window for reference.
CONTROL: Level control and DIM button for the
control room monitors. This section also has LEDs
to indicate the current monitoring mode, as well
as a selector for two independent monitor
speaker outputs.
DIMENSION ONE Control Surface
Dynamics Module
DELAY: Allows a delay of up to 20 frames
or 667.5 milliseconds to be applied to the
selected audio path to compensate for video
processing delays (preserving lip-sync).
GATE: These five rotary controls adjust the
parameters of a gate, if present in this audio
path. The operator can adjust open, close,
and hang times, the depth of the gate’s
attenuation, and the threshold of the gate.
A shared display shows the numeric value
of the last-adjusted parameter.
COMPRESSOR: These five rotary controls
adjust the parameters of a compressor/
limiter, if present in this audio path.
Threshold, attack and release times,
compression ratio, and makeup gain
can be adjusted by the operator. A shared
display shows the numeric value of the
last-adjusted parameter.
AUX 1-8: A level control, ON/OFF pushbutton, and prefader/postfader switch is
provided for each of the 8 AUX sends.
MIX-MINUS CONFIDENCE FEED:
1-16: These buttons turn the confidence
feed (a selectable source, usually the
station’s off-air feed) on and off for the
corresponding mix-minus. When the button
is not lit, the mix-minus output receives the
normal mix-minus bus.
CONF ALL - switches Confidence feed
audio to all 16 MXM outputs.
REM TRIG - when lit, enables remote
control of the CONF ALL switch from a
tally relay on the Master Control switcher.
Turn OFF to bypass remote control. This is
generally used to send the confidence feed
to the mix-minuses only when the station is
in a commercial.
INFO - switches a shared LCD display
on the console’s meterbridge to display
technical information about the surface;
Surf ID, network settings, software revs etc.
DISPLAY:
AUX/MXM - switches the shared LCD
meterbridge display to show metering
for the 8 stereo Aux send outputs and the
16 Mix-Minus outputs.
GRP - switches the shared LCD
meterbridge display to show metering
for the 16 group outputs.
PGM CTLS - globally displays the input
fader’s two programmable Wild Card
knob settings in the lower right area of
the input channel’s LCD screen. Switching
PGM CTLS off globally displays the input
channel’s A-B SOURCE names in that same
space.
HELP - calls up the built-in menu-driven
help system
TB PRESELECTS: Allows four destinations to
be preselected for talkback; the destination
names appear in the displays beside the
buttons, and when the TB buttons are
pressed, talkback is engaged to the
corresponding destination.
PROGRAMMABLE: These 12 buttons can be
programmed for user functions not otherwise
accommodated on the control surface.
PAGE BUTTONS: PAGE A and PAGE B switch
all faders to the selected page in unison. GRP
PAGE toggles the page of all group faders in
unison. PAGE SAFE locks the page controls
so that they cannot be operated inadvertently.
DCM FADERS and MUTE BUTTONS:
Control the level and mute of all channels
assigned to the corresponding DCM. These
Digital Control Masters allow a group of
sources to be collectively adjusted without
actually combining their audio onto a
group bus.
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DIMENSION ONE Display Screens
INPUT CHANNEL STRIP (21-24 SHOWN)
A dedicated LCD monitor for every four input faders displays
source & gain reduction metering , EQ and Automix status,
Group assignments , On air status , and programmable
controller values. Pressing the SET button on an Input
fader opens up three detail view screens for any fader
on the console.
INPUT EQUALIZATION
A comprehensive Equalizer/Filters screen displays all settings:
4 band parametric EQ and Low Pass/Hi Pass filters, in an easy
to read graphical layout.
INPUT GAIN REDUCTION
A dedicated LCD screen provides detailed information on all
Compressor /Limiter/Gate settings for each individual Input or
output channel strip. The Gain Reduction curve graph drawn in
an easy to read input vs. output level format makes it easy to
see and manipulate threshold, ratio, and depth settings.
INPUT STATUS SCREEN
This screen provides a comprehensive at-a-glance view of all
input fader settings. Look here for instant access to Aux Send
Configuration, Bus Assignments, Channel Mode, Gain, Bus
Minus Routing and more.
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SURROUND METERING
The surround metering screen provides dedicated bar graph
metering for each 5.1 Master output component and a
switchable spatialization display. Pressing SET on any 5.1
input or output routes its surround metering information to
this display. Spatialization metering lets you see how the 5.1
audio is distributed in a surround listening space.
MIX-MINUS METERING
This screen displays at-a-glance monitoring of all
16 Mix-Minus outputs.
SWITCHABLE UTILITY DISPLAY
This screen displays dedicated Stereo master bargraph
meters. A switchable meter let’s you route any signal in the
system to it for metering. This meter does triple duty and will
automatically display any PFL or SOLO’d signal. Confidence
Feed status lets you see at a glance what signal is being routed
to each of the Mix-Minus outputs.
AUX SENDS
At-a-glance monitoring of all 8 Stereo Aux Send outputs.
All LCD meters simultaneously provide both peak AND average display of
the source or output signal in a 48 dB range scale with OVER indicators.
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DIMENSION ONE: Exceptional Serviceability
Servicing, upgrading or accessing internal components in a traditional
console is a task even the most seasoned veterans don’t look forward
to. First, the console usually has to be taken off-line, meaning downtime for your programming. Just getting to the internal components is
a job in itself. Due to rear access and very cramped quarters,
it’s a great deal like servicing an appliance. Everything needs
to be unhooked, the console needs to be pulled out and
the person servicing it needs to be a contortionist.
Thanks to its Network First architecture, servicing
Dimension One is a snap. First, since all of the audio
and logic components live in a rack enclosure, all you
need to do is open the front panel and replace or add
cards. You don’t even need to shut anything down everything is redundant and hot-swappable.
The Dimension One control surface is just as
impressive. Should you need to replace a channel
strip module, remove four screws and unplug the
ribbon cable. Drop a new module in and all your
sources and presets are right where they were before
the swap. The entire module has exactly the same
functions you assigned to it.
There’s really no other mid-market board that
brings together the incredible list of features and
the exceptional serviceability of the Dimension One.
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CONTROL SURFACE
SPECIFICATIONS
CONTROL SURFACE FRAME CAPACITIES:
2 Bay Frame up to 12 Physical Input Faders
3 Bay Frame up to 24 Physical Fader Channels
4 Bay Frame up to 36 Physical Fader Channels
INPUT PANELS:
IS-D20 - Input Channel Panel (4 Faders
per panel; each fader can be mono, stereo
or 5.1 surround).
Note: all input faders can be PAGED
(i.e.12 physical faders = 24 input channels)
METERBRIDGE:
TFT LCD flat panels, programmable in software.
MASTER CONTROL PANELS:
MFS-D20 - Group/Master Output Control Panel
EFS-D20 - Monitor, EQ, Aux/Mix-Minus Control,
Event Store/Recall, Test Tones, Surround Pan,
Router, Mode, Bus Assign.
DCM-D20 - Compressor/Limiter/Gate,
Talback Assign, Channel Delay, Confidence
Feed, Aux Send Masters, Global Page,
DCM Masters.
CONNECTIONS:
DSP Engine Link - Fiber (SFP module) or
Copper UTP (RJ-45) - dual connectors for
redundant operation.
Administrative Port - 100M Ethernet Copper UTP (RJ-45); for setup only.
Power - Dual HiPower DB-5 connectors for
redundant operation.
BUS STRUCTURE:
Main Busses
Two 5.1 Program busses with auto upmix.
Two Stereo Program busses with auto
downmix.
Ancillary Bussing
16 Sub-Groups configurable in software
as stereo or 5.1 surround.
8 Auxiliary Sends configurable in software
as Stereo or Mono.
Mix-Minus
16 dedicated mono Mix-Minus busses.
Up to 72 Bus-Minus mixes. Each Bus minus
output is a discrete Mix-Minus feed or
Direct Out “clean feed” from every input
fader channel.
Monitoring
Four Control Room/ Studio feeds each with
independent muting and tally control.
PFL and AFL Monitor outputs.
Communications
Dedicated and programmable Talkback
to Aux Sends, Mix-Minus, Bus-Minus and
Monitor Mixes.
INPUTS:
Any mic, analog line, AES-3, HD/SD SDI, or
MADI input may be routed to any input fader
or monitor pot.
OUTPUTS:
Any output mix may be routed to any combination of analog, digital AES-3, or MADI outputs.
EvENT RECALL:
All surface settings may be stored/recalled for
up to 100 named events.
WHEATSTONE BRIDGE ROUTER
SPECIFICATIONS
BRIDGE
Dimensions
4RU, 19"/48.3cm wide
7"/17.8cm high
16"/40.6cm deep
18"/45.7cm deep with connectors
Power supply
External
Slots
20 universal slots, including CPU
(2 for redundancy) and DSP (3)
Slots available for I/O 15
Sample rate
44.1 or 48kHz, user selectable on
CPU card
External sync input
On CPU card
Shipping weight
30lbs/13.6kg
BRIDGE POWER SUPPLY
Dimensions
2RU, 19"/48.3cm wide
3.5"/8.9cm high
15.75"/40.0cm deep
18.5"/47.0cm deep with connectors
Shipping weight
10lbs/4.5kg
Power consumption 400W
SATELLITE CAGE
Function
Dimensions
Power supply
Slots
Shipping weight
Power consumption
Expansion when additional I/O
capacity is needed
4RU, 19"/48.3cm wide
7"/17.8cm high
16"/40.6cm deep
18"/45.7cm deep with connectors
Internal plug-in module;
use two for redundancy
11 universal slots
22lbs/10.0kg
150W
HOST CPU — CPU-2001
System control
Function
Optional second CPU for automatic
Redundancy
failover
Rear connector panel DB9 “A” (RS485 or RS232)
DB9 “B” (RS485)
DB9 “C” (AES sync)
Ethernet (configuration PC)
two 10pin (power)
DIGITAL SIGNAL PROCESSOR CARD — DSP-2001
Function
Mixing, routing, EQ, dynamics
DIGITAL INPUT CARD — AES-2024
Inputs
8 transformer coupled (AES-2024/8)
16 transformer coupled
(AES-2024/16)
Impedance
110Ω balanced AES-3, S/PDIF
compatible or 75Ω unbalanced
AES-3id, depending upon rear
connector panel
Reference level
-20dBFS
Channel configuration Mono, stereo, 5.1
Rear connector panel DB25, RJ45 or BNC
SDI EMBEDDED INPUT CARD — SDI-2001
Inputs
2 inputs, auto-detect of
SMPTE 259M (SD-SDI) or
SMPTE 292M (HD-SDI)
Channel configuration Each input can de-embed two
groups (4 channels)
Rear connector panel 4 BNCs (input and loop-thru
for two SDI inputs)
MADI DIGITAL INPUT CARD — MADI-2001
I/O
Two AES10-2003 (MADI),
auto-detect of 56 or 64 channels
Rear connector panel Fiber (SC duplex) and 2 BNCs
ANALOG INPUT CARD — ADI-2001
Inputs
16 electronic differential
Impedance
20KΩ (bridging)
Reference level
+4dBu = -20dBFS
Sample rate converters 32-96kHz, 16-24bit
Channel configuration Mono, stereo, 5.1
Rear connector panel DB25 or RJ45
MICROPHONE CARD — MIC-2001
Inputs
8 electronic differential
Reference level
-50dBu = -20dBFS
Gain range
+20 to +80dB
Phantom power
Switchable
Maximum input level -10dBu
Sample rate converters 32-96kHz, 16-24bit
Channel configuration Mono, stereo
Outputs
8 direct analog outputs
Rear connector panel DB25 or RJ45
DIGITAL OUTPUT CARD — DO-2024
Outputs
8 transformer coupled
(DO-2024-8)
16 transformer coupled
(DO-2024-16)
Impedance
110Ω balanced AES-3,
S/PDIF compatible or 75Ω
unbalanced AES-3id,
depending upon rear
connector panel
Reference level
-20dBFS
Channel configuration Mono, stereo, 5.1
Rear connector panel DB25, RJ45 or BNC
ANALOG OUTPUT CARD — AO-2001
Outputs
16 electronic balanced
Impedance
50Ω, to drive loads
of 600Ω or greater
Reference level
+4dBu = -20dBFS
Maximum output level +24dBu
Channel configuration Mono, stereo, 5.1
Rear connector panel DB25 or RJ45
LOGIC INPUT/OUTPUT CARD — LIO-2024
Function
Programmable GPI
Ports
24, each configurable as
input/GPI or output/GPO
Input GPI
Floating opto-isolated photodiode,
+5 to +15VDC, maximum current
50mA
Output GPO
Solid state relay, maximum load
120mA, ±100V; not to be used to
switch AC mains
Rear connector panel DB25
QUAD AUDIO NETWORK CARD — QAT-2001
Function
Connects master Bridge to up to
4 remote Bridge, Bridge
Satellite, E-SAT frames,
or control surfaces
Channels
256 per card
Rear connector panel RJ45, fiber (SC duplex),
or SPF modular
Specifications and features subject to change
without notice.
19
Made In The USA by
Wheatstone Corporation
600 Industrial Drive | New Bern NC 28562-5440 USA
phone 1.252.638-7000 | fax 1.252.635-4857
wheatstone.com | sales@wheatstone.com
© 2011 Wheatstone Corporation
Audio For Television—Evolved.™
110801
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