Dimension Three - Fully Configured Console

Dimension Three


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Meet Dimension Three Console/Control Surface
Wheatstone television audio consoles are the backbone of the industry, keeping more stations reliably up and running than any other consoles in the world. Hailed as being the most intuitive AND the most comprehensive, they've earned their reputation as being the best you can buy.

The Dimension Three TV audio console combines capabilities such as I/O layering and channel profiling to provide the most flexible control surface ever. A touchscreen option brings even more controls to the operator's fingertips.

With all I/O managed through separate rack units, the Dimension Three has no limitations with fixed connection points on the console chassis itself. Any channel can connect to any audio source, using any preferred audio format at any time, whether it’s HD/SDI, AES, MADI, AoIP, Analog or TDM.

With our Network First approach, everything essential to audio routing, logic and processing is situated in racks located wherever you like, accessible via the network. This 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. And, because we’ve designed our rack cages with front access and full hot-swappability, you’ll never need to tear apart a console or rack to upgrade, repair or otherwise access its components. This all translates to 100% uptime and unprecedented expandability.

The result is the first large-format audio console that is so truly universal, it can fit into almost any TV production environment, anywhere -- whether it’s a Wheatstone TDM routed studio, a MADI-equipped stadium, a remote truck or even the newest space in studio networking based on IP connectivity.

With Gibraltar IP Mix Engine, you are open to the world of IP Audio Networking with access to powerful, cost-effective BLADE-3 units for I/O, logic and processing functions.




Dimension Three shown with optional legs designed to provide a free-standing console. 

Because 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. 


Intelligent Layout. Intelligent Console.

D3 TopDown



The Dimension Three TV audio console provides the best of all possible worlds, combining capabilities such as I/O layering and profiling of channels into any configuration on the surface with unlimited access of sources at any time, from anywhere and in just about any format from the network. Unlike traditional broadcast consoles with all sources wired to the board, the new Dimension Three puts mixing, I/O and processing where a modern network puts them: in a separate network unit unrestricted by tight spaces and limited access.

The Dimension Three console offers easy layering of channels and mixes from a menu display or offline through a network connection, and includes convenient USB interface on its meter bridge for recording/playback of audio clips or for saving and recalling configuration settings. The Dimension Three is freelance-friendly, too! Freelancers can bring in their USB Flash drives with audio files for the built-in audio clip player.

Based on Wheatstone’s powerful Gibraltar mixing engine capable of 1,024 channels of simultaneous digital signal processing, the Dimension Three can handle the most challenging productions for fixed or remote installations. It offers specialty features such as automatically crossfading between inputs as the switcher or automation system cuts or dissolves between video sources and optimizing levels of group microphones during a dialogue. Other standout features include audio-follow-video (AFV) switching, audio processing on every input channel and on all major output busses — all with resource sharing through the network and virtually no routing restrictions.

Unrestricted routing means being able to have all faders available to dial up whatever mix you need; the days of having to block out channels based on input type are a thing of the past, as is having to repurpose inputs because of physical chassis limitations.


DimensionThreeDetail2Dimension Three provides an impressive 16 dedicated mix-minus busses and 16 stereo AUX sends plus a bus-minus (N-1) output for every input channel (up to 128 input channels on 64 physical faders) — in addition to two stereo and two 5.1 surround master busses. It offers up-mixing and down-mixing between stereo and 5.1 sources, plus a full complement of stereo and 5.1 surround panning with EQ and dynamics processing available for each input, each subgroup and each program bus. For overall control, this control surface uses motorized faders, each of which controls a source that can be mono, stereo, or full 5.1. Each fader also has a “spill” function, which allows its individual channels to spill out onto separate faders (two for stereo or six for 5.1 sources).

The Dimension Three is built rugged, yet is beautifully crafted with backlit buttons and oversized wide-screen displays for easy setup and monitoring, including LKFS readout for monitoring CALM compliance.


  • Network access to audio in all major formats: HD/SDI, AES, MADI, AoIP, Analog or TDM

  • With Gibraltar IP Mix Engine, you have access to powerful, cost-effective BLADE-3 units for I/O, logic and audio processing

  • AES67 compatibility

  • Flexible I/O layering and profiling of channels

  • 16 dedicated mix-minus busses

  • 16 stereo AUX sends

  • Bus-minus (N-1) output for every input channel (up to 128 in all)

  • Two 5.1 surround master output busses

  • Two stereo master output busses

  • Up/Down mixing between 5.1 and stereo

  • Full digital audio processing on all inputs and major output busses (EQ, comp/limiter, expander/gate, high/low pass filters)

  • Programmable delay applicable to inputs and outputs

  • Automatic microphone mixing (AutoMix)

  • Audio-follow-video switching (AFV)

  • Built-in audio clip player

  • USB interface for Flash drives

  • Two programmable soft knobs per input – can be assigned any control function on the console

  • 4 fully programmable switches for implementing custom routing and switching functions

  • 99 show presets for complete recall of console setups

  • Control interface for major automation systems

Top-of-the-food-chain functions come to a new price point

The DSP power and intelligence behind Dimension Three’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.


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.


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 Three, 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.

Spill Illustration

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. He can even designate one microphone as the HOST, allowing it to automatically override any other active signal in the automix group.


Press to momentarily send the Talkback interrupt signal to the selected monitor mix. Releasing the button removes the Talkback interrupt signal from the mix.

Push buttons allow you to hear pre (PFL) or post (AFL) fader levels.

With Dimension Three you can

Assign any source of any type to any fader on any layer at any time

Hot-swap components without powering down or disassembling

Share I/O with other networked control surfaces

Remotely run automation, even without a physical control surface

Switch live, on the fly, between primary and back-up sources on the same fader

Play audio clips from the console


System Routing

RouterIllustrationFull control over crosspoint connections is a must in any router based system. 
The Dimension Three System Router section allows signal Sources and Destinations (logically grouped according to Location) to be assigned with virtually unlimited flexibility. It operates in two modes:

In STANDARD MODE the displays respond to any Set function invoked on the surface. If the Set applies to an input channel the destination display shows the output routing for that channel’s Bus Minus output. If the Set function applies to an output bus, the Destination display shows the output routing for that bus. In both instances on-the-fly changes can be made quickly via the scroll knob and take switch.

The second mode of operation is full XY MODE, where any system source can be sent to any system destination. The lists of signals that are visible (and therefore routable) can be programmed through software so critical crosspoints remain protected.

Built-In Clip Player

ClipPlayerIllustrationUserPortThe other USB port on the front right of the meter bridge is labeled “AUDIO”. This allows you to plug in a Flash/Thumb drive with audio clips you’d like to have access to. Set up a playlist and control it right from the console. A built-in clip player gives you a clean readout on the screen. Simply assign a channel to playing clips as a source, dial up the clip you want, and play it from the ON button on the channel. Easy as pie!



LayerSetupIllustrationThe Dimension Three is equipped with eight layers. Each layer represents a complete setup of your entire surface. You have the ability to select each of those eight setups simply by pushing the associated button. All your inputs, mix-minuses, aux-sends, EQ, processing - the works - time eight. Switching to another layer gets you to another complete setup.

Any source, anywhere on the network, can be dialed up on any or many of those channels at any time. And wherever that source is used, it will utilize the settings on that channel. This makes the Dimension Three a powerhouse console.

Loudness Monitoring


The meterbridge LOUDNESS meter has the required momentary, short-term, and integrated metering as well as a peak reading meter. The Loudness Range meter provides a level history over the course of your program with a Program duration display and a reset control on the Dimension Three surface. The Loudness Meter can be set to read any of the Stereo Program or 5.1 Program busses. The large LKFS readout helps your operators maintain CALM compliance, avoiding more noticeable downstream corrections.



All The Info You Need Dynamically Displayed In The Meter Bridge

The meterbridge on Dimension Three is comprised of LED displays that give you dynamic information about any and all functions. These reflect whatever actions you are applying to the console and update in real time with lightning fast refresh rates. There's also an optional touchscreen that allows you to use the standard pinch and zoom gestures you are familiar with.


The Surface Modules

Everything you need to mix - laid out exactly as you'd expect it to be

Input Module

  • D3 IS PANEL8SOURCE: Rotate the knob to select a source, press the knob to take that source. Preset 1 & 2 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).
  • SOFT: Programmable knobs and switches which can be 
assigned to a variety of functions.
  • BUS– (BUS MINUS): Allows the channel strip’s signal to be subtracted from a bus, creating an automatic mix-minus output.
  • 5.1 UP/ST DOWN: Assign the fader strip’s signal to the console’s output busses: 5.1 Surround 1 & 2 and Stereo Masters 1 & 2.
  • 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 SOFT controls).
  • MXM/SUB: 16 indicators showing which mix-minus or submix busses the channel strip currently feeds.
  • AFV: Engages Audio-Follow-Video, allowing the channel strip to be switched with video sources.
  • AUTOMIX: Press to enable this fader into automatic mic mixing. Overpress to make this fader the priority source.
  • SPILL: For 5.1 sources, spills the source channels onto adjacent faders for individual control.
  • TB: Press to momentarily send the console’s Talkback interrupt signal to the channel’s bus-minus output. Releasing the button removes the Talkback interrupt signal from the mix.
  • 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.
  • SET: Selects this channel strip to be modified by controls in the master section.
  • PFL: Pre-Fader Listen. Allows the channel’s audio signals to be previewed pre-fader.
  • AFL: After-Fader Listen. Allows the channel’s audio signals to be previewed post-fader
  • FADER: Penny + Giles motorized long-throw fader.

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: LED indicators provide visual confirmation of which DCMs (Digital Control Masters) this output bus master fader has been assigned to.
  • PFL: Pre-Fader Listen selects the output mix for listening on the PFL bus.
  • 5.1 SURROUND and STEREO MASTER FADERS: Motorized Penny + Giles long-throw faders. These control the master output bus levels. If a stereo or mono signal is assigned to a 5.1 bus, it is upmixed to multiple surround channels. If a 5.1 signal is assigned to a stereo master, it is downmixed to 2 channels - left and right.
  • MASTERS: LEDs provide visual confirmation of which output busses the submix master has been assigned to.
  • SUBMIX PAGE: Switches individual faders from one page to the other (e.g. from SUBMIX 1 to SUBMIX 9).
  • EQ/GATE/COMP: Allows a parametric equalizer, a noise gate, and a compressor/limiter to be inserted into the submix signal path.
  • SET: Selects a submix for modification using controls in the master section.
  • DCMS: LEDs provide visual confirmation of which DCMs the submix has been assigned to.
  • ON: Switches the submix master signal path on or off.
  • PFL: Pre-Fader Listen selects the submix for listening on the PFL bus.
  • SUBMIX FADERS: Control overall volume of submixes. (Motorized Penny + Giles long-throw faders.)

Monitor Module



  • MASTER LEVELS: 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.
  • EQ controls: Four fully parametric EQ bands with frequency, bandwidth, and boost/cut controls. The upper and lower bands can be switched to be shelving equalizers. The EQ controls operate on the signal that 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.
  • LPF: Frequency selector and on/off button for a 24dB/octave Butterworth low-pass filter; tunable from 1 KHz to 20.2 KHz.
  • 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.
  • BUS ASSIGN: Assigns the selected channel strip to any of the console’s four mix busses (two stereo, two 5.1 surround).
  • SUBMIX ASSIGN: Assigns the selected channel strip to any of 16 true audio submixes.
  • 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: Sets 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 activated anywhere on the control surface.
  • MONITOR MIX SOURCE SELECTION: Permits source selection for the monitor mix whose SET button is pressed.
  • PRE-PROGRAMMED MONITOR MIXES: These four buttons select pre-configured monitor setups for each of the four main mix busses.
Level controls and DIM/Talkback buttons for two studio and one headphone outputs. The mix being monitored is displayed in the MIX window for reference.
  • CONTROL: Level control and DIM button for the control room monitors. Includes LEDs to indicate the current monitoring mode, as well as a selector for two independent monitor 
speaker outputs.


  • 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.
    – SELECT - Rotary control used to select frequency or level of the test tone.
    – ON - Enables the tone generator.
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.
  • COPY: Settings can be easily copied from one fader strip to another, or to many others, using these controls.
  • SWITCHED METERS: 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. 
  • SYSTEM ROUTER: Allows sources to be assigned to input channels, and destinations for output mixes to be selected.
    – SOURCE/DESTINATION - Displays the name of the source or destination selected.
    – LOCATION - Displays the physical locations 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.
  • EVENTS SECTION: Allows storage and retrieval of snapshots of the entire control surface with all settings, sources, and selections. Up to 99 different events can be stored with descriptive names, and recalled instantly.


Dynamics Module

  • DimensionThree DCM PANELDELAY: 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 activated for the selected 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 activated for the selected 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 1-16: A level control, ON/OFF push-button, and prefader/postfader switch is provided for each pair of the 16 AUX sends.
  • MIX-MINUS CONFIDENCE FEED: These 16 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; Surface ID, network settings, software revision, etc.
    – MINI FLIP - toggles the lower portion of input channel meterbridge displays to show EQ and compressor/limiter curves instead of default submix and aux/mxm assigns.
    – MXM/AUX - toggles the shared LCD meterbridge display to show metering for the 16 stereo Aux send outputs or the 16 Mix-Minus outputs.
    – CLIP PLAY - toggles to Clip Player screen
    – CONF ZOOM - zooms the confidence feed portion of the meterbridge shared display to double size. 
  • TB PRESELECTS: Allows four destinations to be preselected for talkback; the destination names appear in the displays beside the buttons. 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.
  • LAYERS (1-8): Selects which LAYER is the active layer.
  • LAYER SETUP: Puts the selected layer into programming mode, allowing DSP assignments to individual channel faders.
  • COPY and PASTE: Copies the setup of one layer to another. The target layer can then be further modified to the desired state.
  • PAGE SUBS: Flips all submix channels from their current settings to alternate pages.
  • LOUDNESS RESET: The meterbridge LOUDNESS meter displays a continuously averaging loudness level. Pressing the RESET button immediately overrides the current reading, causing it to begin averaging again.
  • 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 or muted without actually combining their audio onto a submix bus.

Failsafe Redundancy

It’s all about staying on the air - every second of every day - without fail

Wheatstone’s experience in designing audio consoles for all broadcast realms as well as pioneering networking comes together in the Dimension Three. More power to handle modern needs with a user interface that is pure joy to get your hands on. And with Wheatstone’s built-in safeguards, you can rest assured that you’ll always be on the air...with or without fail.

Redundant Sources

SourceRedundencyIllustrationWith Preset 1 and Preset 2 source selectors provided on each fader, if the primary feed goes silent, an operator need simply press the second source 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

Gibralter DSP CardIf 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 Wheatstone, 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


Gibraltar Network cage utilizes internal modular power supplies and can accommodate up to two units for redundancy.

On the Gibraltar Network and Gibraltar IP Mix Engine cages, power supplies are internal and can be single or dual modules.

The back provides access to the cards’ connections.

Gibraltar: Create a System with IP-Based Audio Network or Traditional Networked Router Frame

Wheatstone has long been the leader in networked audio and routing for broadcast. Whether you are interested in a traditional frame-based TDM network or are looking at an IP-based system that can utilize AES67 to function with emerging standards, Wheatstone has mature, field proven, bullet-proof networking that provides the functionality to make the most of your applications and needs.

Gibraltar brings an exceptionally powerful engine to the mix. There are 1,024 channels of DSP available. For a modern studio, consider that for every input you’ll need a minimum of 6 channels of processing for 5.1 surround as well as 2 channels for stereo processing. Add to that processing for all major output and monitor busses (stereo and surround mains, submixes, aux sends, mix-minus, tracks, control room, studios and headphone feeds) and you’ll see that it adds up to a lot.

Each of our consoles taps the power of Gibraltar to provide unparalleled mixing capabilities and most can be ordered with a traditional TDM-based Gibrlatar Network with a cage that allows you to choose cards for your specific installation, or an AoIP-based Gibraltar IP Mix Engine in which most of the same functions are accessed via our BLADE-3 interface boxes.

> Learn more about Gibraltar IP Mix Engine and WheatNet-IP Networks     > Learn more about Gibraltar Traditional Network Frames



Above: Gibraltar Traditional Frame-Based TDM Network.

Below: Gibraltar IP WheatNet-IP AoIP-Based Newtwork

GibraltarIP Mix Engine. 2560



Plenty of I/O Available Wherever You Need It


The optional 4RU StageBox One is for extending console I/O, providing 32 mic/line inputs, 16 analog line outputs, and 8 AES3 inputs and 8 AES3 outputs as well as 12 logic ports and dual Ethernet ports. StageBox One works with all WheatNet-IP audio networked consoles. 

Genuine Wheatstone Add-Ons

Whether you are setting up interview suites or desks, or just making workflow more intuitive and efficient, Wheatstone has the gear you need to get the job done.


Input Panels:

IS - Input Channel Panel (4 Faders per panel; each fader can be mono, stereo or 5.1 surround)

Master Control Panels:
MFS - Submix/Master Output Control Panel
EFS - Monitor (CR, Hdpn, Studio 1 & 2), EQ, Aux Send/Mix-Minus Control, Event Store/Recall, Test Tones, Surround Pan, Router, Mode, Bus Assign
DCM - Compressor/Limiter/Gate, Talkback Assign, Channel Delay, Confidence Feed, Aux Send Masters, Global Page, Display, DCM Masters

Multiple 6.5x11.5” high resolution LED backlit TFT LCD flat panel displays

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 downmix
Two Stereo Program busses with auto upmix
Ancillary Bussing: 

– 16 Sub-Mix Groups
– 16 Auxiliary Sends
– 16 Mix-Minus

Up to 128 Bus-Minus mixes

Four monitor feeds (CR/Hdpn/Studio 1&2) each with independent muting and tally control


Dedicated and programmable Talkback to Aux Sends, Mix-Minus, Bus-Minus and Monitor Mixes

Any mic, analog line, AES-3, HD/SD SDI, or MADI 
input may be routed to any input fader or monitor pot

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 99 named events

TOUCHSCREEN option available

The Dimension Three is equipped with eight layers. Each layer represents a complete setup of your entire surface. You have the ability to select each of those eight setups simply by pushing the associated button. All your inputs, mix-minuses, aux-sends, EQ, processing - the works - time eight. Switching to another layer gets you to another complete setup. Any source, anywhere on the network, can be dialed up on any or many of those channels at any time. And wherever that source is used, it will utilize the settings on that channel. This makes the Dimension Three a powerhouse console.

Frame 1 — up to 16 physical input faders*
Frame 2 — up to 24 physical input faders*
Frame 3 — up to 32 physical input faders*
(standard frames; larger sizes available) 

D3 Dimensions


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 modular architecture, servicing Dimension Three 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 Three 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 Three.

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