AIR-4 - Analog


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A Never Lost Audio Art – Analog Mixing

With our Audioarts AIR-4 12-channel radio console, we’ve put together exactly what needs to be in a compact radio console and made it work the way it should. The AIR-4 is based upon a simple premise: Low cost does not have to be synonymous with low quality.


The AIR-4 has four microphone preamps built in. This allows the use of a host microphone and three guest microphones with the AIR-4 without the use of any external mic preamps. It gives you 12 input faders (w/A-B source select), a 13th fader for call-ins, external machine control, two program busses, built-in cue speaker and CR, headphone and studio monitoring control. Add patchable USB connectivity for PC news, production work stations or streaming audio, and the Audioarts AIR-4 is perfect for local radio stations and internet broadcasters.

The AIR-4 design utilizes top grade components and circuits for superb performance. With basic features like machine control, cue, talkback, and mix-minus included, it’s perfect for smaller stations looking to upgrade as well as for larger facilities in need of an auxiliary studio or newsroom console.

The Audioarts AIR-4 mixing console draws upon Wheatstone Corporation’s continuing investment in the latest design, tooling, and manufacturing infrastructure. Because we both design and manufacture our own audio consoles, right here in New Bern, NC, USA, we can ensure our reputation for unparalleled quality, performance, and reliability.

The AIR-4 delivers superb broadcast quality and an excellent feature set at a great value.

Rear Panel
click to enlargeAIR 4 Rear


  • 12 stereo input fader channels, each with A and B inputs and remote START logic

  • 13th phone caller fader with talkback and auto mix-minus to caller 

  • Four high performance mic preamps with variable gain trims to precisely match your microphones; preamp outputs jumper to any input fader’s A or B input

  • Two program busses with balanced outputs (switchable stereo or mono mode)

  • External input feeds the monitor section (for live air or pre-delay air monitoring)
  • CR room monitor switchable PGM 1, PGM 2 or external; can mute when CR mic is live

  • Split cue — when any fader is in CUE, sends cue audio to left channel and L+R sum of selected monitor source to right channel (switchable separately for CR and headphone)On-air light — front panel LED between the meters, and a low current closure output to drive an external ON AIR light relay.

  • Studio output with independent source selection and CR-to-studio talkback button
  • Plug in faders and conductive plastic monitor pots for easy replacement

  • USB connection that is patchable to any of your input faders and internally dipswitchable to pick up program 1 or program 2 output mixes. Lets the AIR-4 interface with your desktop computer for news, music sweetening functions or to stream audio mixes from and to the console.

  • Built-in cue speaker can automatically interrupt your main stereo monitors

Air 4 Flow Chart
click to enlargeAIR4 FLOW LT

Input section

Source Select  Selects between two analog stereo sources: A and B

Program Assign  Assign the selected source signal to any combination of the console’s two stereo Program outputs

Cue Button  Places the channel’s signal on the console’s cue bus.

ON Button  Turns the channel on and off by means of electronic switching and can simultaneously start external source machines.

Fader  Sets the channel’s level.

Caller Input section

Program Assign Output switches assign the caller to any combination of the console’s two PROGRAM outputs and permit live talk-ins.

CUE Button  Allows interviewing the caller prior to airing by including the caller’s voice in the console’s cue bus, where it may be heard on the meterbridge mounted cue speaker.

TB Button  When the TB switch is pressed (it is momentary action), Mic 1 will interrupt the regular caller signal, thus allowing the DJ to talk to the caller prior to airing.

ON Button  Determines if the phone channel is ON or OFF.

Fader  Sets the caller’s signal level.



Control Room/Monitor Section

CUE Level Control Determines the overall loudness of the cue signal as it appears in the console’s cue speaker.

EXT Switch Pressing the EXT switch allows the operator to pick up the external input (useful for such items as tape recorders or air returns) to listen.

Program Select Pressing either of the two program switches allows the operator to listen to the selected output bus.

CR (CONTROL ROOM Level Control) Determines the overall loudness of the signal being monitored as it appears in the Control Room speakers.

METERS Select Buttons Select the source for the switched meter pair.

HDPN (HEADPHONE Level Control) Determines the overall loudness of the headphone output signal.

Studio Monitor Section

TB (Talkback) Button Lets the operator’s microphone signal interrupt the normal feed to the studio speakers, allowing the operator to talk to the performers in the Studio.

EXT Switch Pressing the EXT switch allows the external balanced input (such as tape recorders or air returns) to be heard in the studio.

Program Select Pressing either of the two program switches allows the selected output bus to be heard in the studio.

Studio Level Control Determines the overall loudness of the signal being monitored as it appears in the Studio speakers.




Direct wire plug terminals, balanced
Electronic differential, >2KΩ bridging
Adjustable sensitivity
max. input -6dBu

Line (Caller, External)
RJ-45 balanced,
>10KΩ bridging
+4dBu = 0VU, max. input +24dBu


Program & Caller
RJ-45 connectors, balanced
Electronic differential, 100Ω source
Impedance to drive >600Ω 0VU = +4dBu, max. output +24dBu

CR & Studio Monitor 
RJ-45 connectors, unbalanced

Stereo 1/4” TRS connector to directly drive typical broadcast style headphones >200Ω

Cue speaker in meterbridge
DB-25 female connector output to drive external power amp



Frequency response  ±0.1dB 20Hz-20kHz (mic & line)

Dynamic Range 
Line (unity gain) 113dB
Mic (54dB gain) 100dB

24dB above -4dB

Mic -128dB EIN
Line -87dB ref 0VU

Mic <0.02% @-50dBu in, +4dBu out
Line <0.003% @+4dBu in, +4dBu out

Bus Crosstalk -90dB @1kHz

Stereo Separation -60DB @1kHz

Off Isolation -115dB @1kHz


DB-25 female connector
Low current closure to drive external on-air light relay

Channel Start Out 
DB-25 female connector
Opto-isolated output closure to remote start external devices


28.4” / 72.1cm wide
15.4” / 39.1cm deep
4.4” / 11.2cm height (rear)
1.6” / 4.1cm height (front)

Weight 17 lbs / 7.7kg

Shipping weight 25 lbs / 11.3kg

Power 100-240VAC / 50-60Hz / 50W

Power Supply


Wheatstone's HPS-516 power supply is engineered and built to maximum peak-tolerant specifications right here in our factory to protect your Audioarts consoles and Wheatstone talent stations, ensuring the reliable operation of your most mission-critical studio components for an extended period. Studios are regularly exposed to surges and voltage spikes that can take a toll on equipment. Off-the-shelf power supplies won't suffice when a 2,000-volt spike comes down the line, yet these commercial supplies are frequently used in many broadcast consoles, leading to a shortened lifespan and reduced reliability over time.

The HPS-516 power supply is designed to safeguard critical components and regulate power consistently and smoothly throughout the life of your Audioarts IP-12, DMX, Air 1, and Air 4 consoles, as well as Wheatstone TS-4 and TS-22 talent stations.

Our power supplies are engineered by Wheatstone and manufactured in our factory alongside our consoles and talent stations, all developed specifically to meet the demands and rigors of broadcasting day after day, year after year.

The HPS-516 is available in a single or double rackmount option.


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.


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