TV Audio Consoles

IP & TDM Networking

WheatNetIP Gibraltar LogoWheatstone TV audio consoles pack in a lot of efficiency. We moved everything routing and logic related to the network, and replaced the gargantuan consoles of the past with these efficient, compact network consoles.

All function and no bloat, Wheatstone audio consoles are built broadcast tough. Wheatstone offers two console lines: its newer IP networked consoles for its WheatNet-IP audio network and its established TDM-based consoles for its Gibraltar Network.

Why Wheatstone For TV Audio? Click to Find Out!


Wheatstone for TV Audio: Your audio console needs to be one smart cookie to stay ahead of live production these days. Complicated controls are out. So is networking for the sake of networking. Your audio console needs to understand your board op, and its audio network needs to know its way around a live sportscast, newscast or show. That’s why our new IP networked consoles don’t require console school to learn how to use, and why the WheatNet-IP audio network includes intelligent routing, integrated control and a complete audio toolkit at every node. Basic audio tools like audio processing and mix-minus creation at every node combine with control functions so you can send the right mix-minus to a news anchor’s headset at the last minute, change news sets unexpectedly, set up IP intercoms as needed, and stay flexible – yet productive -- during any production scenario. Wheatstone offers its newer line of consoles with WheatNet-IP networking and its established line of TDM-based consoles with Gibraltar networking. Both are designed specifically for television by a company  trusted by broadcasters around the globe.

Click to download our NEW TV PRODUCTS FOR 2015 Brochure

WheatNet-IP Audio Network / Gibraltar Network

Wheatstone’s new IP networked consoles offer native IP interface to most popular production automation systems, AES67 compatibility, and the scalability, affordability, and adaptability of IP audio networking. The following consoles interface to the WheatNet-IP audio network through the Gibraltar IP Mix Engine


NEW! It’s big and it’s powerful. This 32-fader (or larger) digital mixing console is a dream machine with IP networking, operator prompts, and even a touchscreen interface that recognizes smartphone gestures.

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The Dimension Three includes a powerful combination of access and features! We’ve put mixing, I/O and processing where a modern IT network puts them: in distributed network I/O units unrestricted by tight spaces and limited access. And, we’ve included everything you need on the surface, right down to USB interfaces on the meter bridge.

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Affordability and accessibility are just two of the standout features of the Dimension One.

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NEW! Our new 16-fader, IP networked console is professional grade with the size and feel ideal for small studios or OB or ENG vans.

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This entry-level professional console is made to work with today’s production automation systems, yet has all the important broadcast-specific features, such as automatic studio muting, machine control logic, 5.1 surround capability, balanced or unbalanced AES inputs, router integration, and flexible monitoring capability.

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Twice the channels, half the size. This console is ideal for remote trucks or secondary production rooms.





Gibraltar Network

Wheatstone’s established consoles for its Gibraltar Network offer proven reliability and redundancy. The D-32 and D-5.2 are Gibraltar Network compatible television audio consoles.


For small production suites that have no limits. The D-32 has up to 32 input faders in a 52" wide surface.

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Top-of-the-line for live production, the D-5.2 is a Gibraltar Network console with lots of IFB and controls.

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Extend your Wheatstone TV audio console for dual operation. The DR-9 hooks into your Gibraltar Network to give you fader mapping of your Wheatstone audio consoles.

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Audio for Golf?

How IP audio networking can help make one of the toughest jobs in broadcast sports an easy 36 under par.

Golf Mic Shot 2560Golf is one of the toughest assignments in broadcast sports. Depending upon how much coverage you want to provide for an 18-hole course, you’re going to want to cover all the tees and all the holes – that’s 36 audio locations spread over as many as 200 or more acres! And each location is going to need several mics to cover the wide dynamic range of the sport, from the swoosh of the club to the crowd roaring. That’s a lot of coverage!

Then there’s possible fairway coverage or folks out with remotes, and before long you are up over 100 or more audio feeds from the course. Add the announcers, IFB, and different crowd mics, and we are talking some serious audio.


IP audio networking has greatly reduced the strain associated with such an event. For example, our WheatNet-IP audio networking makes grabbing audio and controlling audio at each point a lot easier. All you need is a BLADE-3 as your audio interface at each hole and other access points along with an Ethernet switch, which can connect to your truck or onsite studio console through fiber optic cable.

GolfCourseShot 2560We’ve been told it’s like dropping in a full studio at each hole!

Each BLADE-3 has built-in and programmable mix-minuses for full IFB support, and gives you control over everything you could possibly want to do with your audio, including integrating it into your overall IP network (now, or when you adopt one).

Because BLADEs have virtual mixers built-in, mixing and controlling audio at each hole is possible – in realtime from wherever you like, whether it’s from your remote truck or your studio.

No complication. No big boxes. No Bogeys (but some Mulligans if you need them).

Here’s what you’ll need, in addition to mics and headsets:

    GolfEquipmentShot 2560
  1. BLADE-3 Audio Interface. With the Mic BLADE, you’ve got audio I/O, eight mic preamps, two 8x2 virtual mixers, audio and control routing matrix, source and destination control, gigabit connectivity, 12 GPI/O ports, 128 software logic ports,
 full programmability, auto mono summing, full AES67 compatibility,
 signal splitting, ACI, and so much more - all controllable from the console at the truck or studio. It’s kinda like dropping in a full studio at each hole.
  2. Managed Gigabit 
Ethernet Switch.
You may already have one 
at some of the holes for 
cameras if you are up to speed on IP networking. If not, they are relatively inexpensive and easy to come by.
  3. Fiber Optic Cable. You’ll need some heavy duty cable - like OCC B04 tactical breakout - stuff that is really rugged AND lightweight. Setup and teardown is fast and easy.

Andy Calvanese Discusses WheatNet-IP for Television

AndyWNIP TV thumb 670

Wheatstone's VP/Technology, Andy Calvanese, discusses some of the advantages of the seamless, built-in control layer of the WheatNet-IP audio-over-IP network when used in television applications.

WheatNet-IP Audio Networking...It's All In There

IP Audio Networking for TV... It Takes More Than a Network

WheatNet-IP is more than just an IP network that routes audio within a TV facility. It is a full system that combines a complete audio tool kit, an integrated control layer, and a distributed intelligent network that takes full advantage of IP audio.

By combining these three components seamlessly into one system, we can deliver the following:

  • A distributed network of intelligent I/O devices to gather and process audio throughout your facility
  • Control, via both hardware GPI and software logic ports, that can be extended throughout the plant as well
  • Rapid route changes via both salvos and presets to instantly change audio, mic control, and tallies between sets
  • A suite of software apps and third party devices that all communicate via the common gigabit IP interface
  • True plug 'n play scalabilty - devices are easily added to the IP network
  • Triggered crosspoints to create routable IFB throughout the facility

Just about any complication in post or live production is manageable using the highly routable features of this broadcast-proven IP audio routing and control system.

Click here to learn a LOT more about what we are doing with IP Audio Networking for TV...

Tips for a Smooth IP Transition

IP Transition_2560The transition to IP may be inevitable, but suffering is optional.

You could always start with a camera with IP output and an IP audio network, two simple additions that would join both video and audio in the IP realm so you’ll never have to step into the edit room again to embed AES audio into the video.

Those cameras are available today, as are audio over IP systems like WheatNet-IP. Simple changes like this can impact workflow now, and set you up for all the benefits of a total IP infrastructure later.

The transition to IP will take time, of course. And some thought. Here are four things that your friends at Wheatstone would like you to think about:


1. Think hybrid. The ideal is a fully interoperable studio, where disparate systems and peripheral gear can talk to one another. Broadcast equipment manufacturers are working toward that goal, Wheatstone included, which is why our WheatNet-IP audio network is AES67 compatible. But until this and other interoperable standards are widely adopted, it’s important to be able to work with existing gear and systems. For many, this includes some MADI gear, some AES/EBU, some analog and some custom control interfacing to critical systems now used in the studio. For this reason, we’ve made it a priority to be able to ingest into our WheatNet-IP system virtually every audio format out there, including native analog, microphone, AES/EBU, SPDIF, IP audio, MADI and SDI.

2. Think beyond access. Think control. IP connectivity isn’t just about access. It’s about control. The more logic you can put on the network, the more control you’ll have over change. For example, WheatNet-IP has an integrated control layer that carries all the logic functions for audio. This makes a world of difference when it comes to being able to handle the unexpected or to repurpose a news set for multiple productions. Control is built into each WheatNet-IP connection point that is shared with other IP connection points across the network, giving you access to not only all sources at once, but also the presets and any associated logic that go along with each feed for controlling such things as mic ON/OFF, or changing remote mic settings for IFB, processing and other parameters.

3. Think distributed network intelligence. Centralized network management is a single-point-of-failure waiting to happen. Distributing network intelligence throughout to every IP point in the network is the smarter approach, because distributed networks like WheatNet-IP automatically build in redundancy - if one part of the network fails for any reason, the rest can keep on functioning. Each IP connection point – or BLADE – stores the entire configuration of the network onboard, which means that failover is immediate. And because WheatNet-IP BLADEs talk to each other, adding onto the network is plug-and-play for easy system expansion -- which in turn adds more control resources, audio mixing and processing tools, and more intelligence for whatever new services come along.

4. Think routable tools. Having the right tools for the job is important. That’s why we place audio tools at all IP connection points in the WheatNet-IP audio network. For example, having two stereo 8x2 utility mixers at the point of I/O makes it practical to do online mixing of sounds, segue remotely between feeds, virtually overdub and pan, you name it. Just recently, we added audio processing to our I/O BLADEs as yet another routable tool in our audio toolkit. Adding new tools is possible because each of our I/O BLADEs has a CPU with operating system inside, which we can add to, change, and make to fit just about any scenario that’s needed.

Oregon State's WheatNet-IP TV Audio System


A $3.1 million, 14,000-square-foot media center allows students at Oregon State University in Corvallis, Ore., to get hands-on experience producing content for television, FM radio, the Web, social media, newspaper and magazine.  This state-of-the-art operation could serve as a model for broadcasters looking to integrate media. Shown in the photo is Control Room A.
Photo: Erik Utter Associates) 


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Memorial Day weekend is usually an exciting time for students wrapping up their spring semesters and heading out for summer vacation, but this year’s holiday weekend was particularly stirring for media-savvy students at Oregon State University in Corvallis, Ore.

That’s because Friday, May 22, marked the inauguration of TV production at a new 14,000-square-foot media center located on the fourth floor of the also new Student Experience Center near the university's student union.

The modern, multifaceted media center is a largely open, collaborative environment where students will get hands-on experience producing content for television, FM radio, the Web, social media, newspaper and magazines that could serve as a model for broadcasters looking to integrate media in a collegial environment.

The inaugural production, a 25-minute live preview of one of the musical groups scheduled to perform at this weekend’s Oregon State Battle of the Bands, was a test-drive before the $3.1 million facility shifts into high gear for the fall semester.

“It was an opportunity to pull the Ferrari out of the garage and take it for a spin around the block,” says Bill Gross, assistant director of the Orange Media Network, which operates all the university's media.

“We wanted our seniors to put their signature touch on the facility so they could claim they did the first live show out of the new facility.”

The new facility replaces a surplus dormitory purchased from student housing in the 1970s for media operations. “Essentially, it was a rabbit’s warren of small rooms,” says Michael Henthorne, executive director of Memorial Union and Educational Activities at the university.

“We are shifting from what traditionally has been an individualized organizational structure for each product to now being more of a single news organization with multiple means of reaching its clientele,” he says.

The facility consists of two studios and two control rooms as well as a common newsroom where student journalists working on stories for their newscast can collaborate with their colleagues working on content for KBVR-FM, the student newspaper, quarterly magazine, website and social media. The retooled KBVR-TV, which has been on a bit of a hiatus from its regular program schedule while relocating to the new digs, will begin producing a live newscast five nights a week as part of its 24/7 program lineup on a community Public, Educational and Government Access Channel provided by Comcast, says Gross.

Besides news, KBVR-TV airs public affairs, variety and music shows, educational programming and sports. The station also simulcasts online as a live Internet stream.

The facility was designed to make it easy to reconfigure and share production equipment, says Erik Utter, director of engineering and president of Erik Utter Associates, the Seattle-based video engineering and consulting firm responsible for its planning. For instance, the six Grass Valley LDX HD studio cameras — one of which is on a crane — can be moved between studios or broken down and transported for live productions from around the campus, he says.

Similarly, the three M/E busses of the Ross Video Acuity production switcher can be shared between the new facility’s two production control rooms, each of which is equipped with an Acuity control surface. Grass Valley Kaleido multiviewers also can be shared and reconfigured on the fly to display every video source in the facility as needed, Utter says.

Another example of the facility’s flexibility is the Wheatstone WheatNet audio-over-IP network. “They are completely reconfiguring their resources depending upon whether the production is a newscast, a music production or a production in concert with the FM station,” Utter says.

“They are reconfiguring that on a production-by-production basis, so the audio-over-IP was absolutely critical to having that ability.” Rounding out the lineup of news production technology in the control rooms are a Wheatstone Dimension Three audio console and Ross Video Xpression graphics and titling.

HD-SDI video is routed to the control rooms and throughout the facility via an 80-by-80 Grass Valley NVision routing switcher. Eight PTZ remote-controlled cameras provide live shots from the newsroom, rooftop, radio studios and elsewhere around the facility. Master control playout is handled by a Tightrope Media Systems server and a Ross Video MC1 master control system. Live video streams are encoded on Elemental servers.

A large, open area on the fourth floor takes the place of separate newsrooms for each medium. The common work area, dubbed “the bullpen” by students, offers a large media lab for video editing on Apple Final Cut Pro; lounge seating for spontaneous editorial meetings; and 30 Ross Video Inception newsroom computer system seats for assignment editors, reporters and producers.

Newscasts are to be run out of the control rooms under MOS control from Inception, and reporters in the field have access to the newsroom system on their laptops and mobile devices via a virtual private network, Utter says.

Inception was a good fit for the facility because it was conceived as a single software application supporting social media, online, TV, radio and print, not simply as a TV news system with Web and print modules bolted on, he says.

“It has very simplified publishing tools to publish to TV, print, Facebook, the Web or whatever.”

Inception is tied into a new Oregon State EditShare media asset management system, which is used not only by the Orange Media Network but also the athletic department and campus media services, says Gross. For KBVR-TV, the MAM provides eight channels of studio playout and recording. For ENG, students will shoot stories with eight new Sony NX-5 HD camcorders as well as with eight existing Canon EOS Rebel DSLR cameras, Gross says. Ross Video’s Inception Social Media Management will tie social media into newscasts and other programs by enabling live Facebook and Twitter polling to generate Xpression graphics.

Support for social media was a must-have requirement for the paid student managers of Orange Media Network who had a major hand in designing the new facility, Utter says.

Unlike many other university media operations, funding for the Oregon State media facility as well as the $42 million Student Experience Center comes from student activity fees. In 2010, a student referendum to fund the project passed by nearly a 3-to-1 margin, according to Henthorne.

While the annual turnover of student managers during the three-year design phase was a bit of a challenge, Utter says any drawbacks were more than offset by the fresh perspective and effort students brought to the process. That’s not surprising because not only do they have skin in the game, but many also are motivated to produce media with tools that will make them more marketable after graduation.

“Students want a place to hone their skills, to collaborate and leave the institution with state-of-the-art experience,” Henthorne says.

To stay up to date on all things tech, follow Phil Kurz on TVNewsCheck’s Playout tech blog here. And follow him on Twitter: @TVplayout.


Paul Picard on WheatNet-IP for Television

In this video from our friends at IABM, Wheatstone systems engineer Paul Picard talks about the WheatNet-IP Intelligent Network and its applications in television audio.

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