Education
From the stage to the classroom, Aviom improves performance and simplifies control.
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From the school stage and practice room to the classroom, gymnasium, and multi-purpose room, Aviom's audio distribution and mixing solutions provide enhanced control and flexibility without complexity.
In music applications, Aviom's category-defining Pro16® Monitor Mixing System allows student performers to hear themselves more clearly and in the context of the ensemble as a whole. In rehearsal studios and instruction labs, Aviom gives teachers an invaluable tool for demonstration, evaluation, and lesson reinforcement.
In other applications, Aviom systems can be tailored to provide the level of control needed for a particular space. Whether in a lecture hall or meeting room, multi-purpose facility or gymnasium, an Aviom system is a cost-effective solution for moving and mixing audio in a school, college, or university.
Aviom's audio networking technologies can help reduce installation costs, add flexibility, and improve sound quality while sharing audio channels, connecting rooms, or adding tie lines between buildings. Because all audio is distributed using standard Cat-5e cables or fiber, installation and maintenance are straightforward, especially compared to running a lot of analog wire and troubleshooting analog systems.
Click image to enlarge Two more Personal Mixers are added to the Basic Four-Mix System, giving individual control of up to sixteen channels of audio to six different performers. The A-16D Pro A-Net Distributor on stage supplies audio and power to six A-16II Personal Mixers. Additional Personal Mixers can be added as required.
Two performers monitor with wired earphones, one with headphones, one with a powered wedge speaker, and two use wireless IEMs. Up to eight Personal Mixers can be connected directly to this distributor.
A-16R Personal Mixers can be substituted for any of the A-16IIs shown here.
Click image to enlarge One of the biggest challenges for musicians performing in an orchestra pit involves monitoring the other performers. The physical layout of a typical pit makes it difficult to see and hear the other players.
This diagram shows a monitor system that can be expanded to suit the needs of any size ensemble. The console feeds 16 channels to the input module which outputs an A-Net data stream, which is distributed to the Personal Mixers in the pit. Musicians can listen through headphones or earphones, according to their personal preference.
This system can be expanded to include additional musicians and remote locations within the theater by adding more distributors and personal mixers as needed.
Click image to enlarge This setup is an ideal design for a music teaching lab. Up to eight stereo or sixteen mono keyboards can be used. Combinations of students' and instructors' instruments can be saved to the memory location of the Personal Mixers for easy recall.
With each student performer wearing headphones or in-ear monitors connected to a Pro16 Personal Mixer, everyone can enjoy the feel of playing at full volume without actually making much audible sound.
Connect line-level signals from the keyboards to the A-Net input module. For mic-level signals, choose the AN-16/i-M which accepts both mic- and line-level audio.
The direct connection method is ideal for line-level instruments such as keyboards; no audio mixer is required. Simply patch the stereo outputs of your keyboard into the line- level inputs of the A-Net input module.
Click image to enlarge Sometimes the large, elaborate PA system in an auditorium is too much to handle. When the room has to double as a classroom, meeting room, etc., you just need a simple way to amplify a few mics or play back a CD.
This system shows an easy way to add a secondary sound reinforcement system that is easy to understand and operate.
Click image to enlarge Here's a simple PA system that can be used in the gym for a multitude of purposes, from sporting events and pep rallies to meetings, assemblies, and large classes. The A-16R makes the perfect mixer for these applications. Its simple user interface coupled with 16 preset memory locations make it adaptable to almost any sound reinforcement situation.
With remote controllability using a dedicated controller like the A-16CS or via RS-232 control systems, this system packs a lot of power into a small package.
The AN-16/i-M shown can be used for up to 16 mic/line inputs, or substitute the AV-M8 Mic Input Module for an 8- channel variation.
Click image to enlarge Up to 8 conference mics are connected to an AV-M8 Input Module. Audio signals are converted to digital and are output as A-Net data. A-Net from the input module connects to an AN-16/o Output Module in the equipment room using Cat-5e cable.
Individual analog line-level audio channels from the AN-16/o connect to a DSP device for processing. The output from the DSP feeds a power amp which sends the processed audio to ceiling speakers.
Click image to enlarge Two AV-M8 input modules are cascaded via the built-in ADAT® digital connection to create a single 16-channel A-Net stream. Up to 8 conference mics can be connected to each AV-M8 input module. Additional audio from line-level sources such as a CD or DVD player, computer, video system can also be connected to the AV-M8; it has built-in pads available on channels 1-2 for just this purpose.
The two AV-M8 modules in this system are connected digitally to create a single 16-channel A-Net stream. A single Cat-5e cable from the AV-M8 connects to an AN-16/o Output Module in the equipment room. The line-level audio outputs from the AN-16/o connect to a DSP processor. The output from the DSP feeds a power amp that sends the processed audio to ceiling speakers.
An optional RS-232 remote control can be added to the DSP device.
Click image to enlarge This system illustrates the flexibility of A-Net based systems. By using an AV-M8 Mic Input Module connected to an A-16R rack-mount mixer, a very simple portable PA system that anyone can operate can be created.
Because the system uses Cat-5 cables to move audio (and, optionally, mix control), set-up is quick, and the wiring is unobtrusive in any environment. Use the A-16CS for simple, cost-effective mix control or a third-party RS232 control system for more advanced control interface options.
Click image to enlarge Tie lines can be used to connect rooms, venues, recording studios, classrooms, buildings, production areas, or remote trucks so that users can share data effortlessly.
This system shows four similarly equipped locations that have both analog and digital I/O modules installed. Locations are connected with MH10f Merger Hubs making it easy to use fiber for long distance runs where needed.
Click image to enlarge This system connects up to 48 channels on stage with the FOH mix position and also provides a return path for up to 16 channels to the main processors and amps. All audio settings on the stage inputs, as well as mic pre presets, are remote controllable from FOH using the MCS. MH10 and MH10f Merger Hubs may be added in each rack for the additional security of backup cables between stage and FOH.
Splits to other locations, such as a monitor console, recording rig, or broadcast room, may be connected at any point in this system.
Click image to enlarge On the stage, 48 mic signals connect to three 6416m Mic Input Modules. All Pro64 devices on stage
connect to an MH10 Merger Hub in parallel. A-Net from the
MH10 on the stage connects to another MH10 at the front-of-house position. The dotted line indicates a second Cat-5e cable
installed as a backup.
At the FOH position, all Pro64 devices are connected in
parallel to the MH10.
Three 6416dio modules are used to output the mic signals from
the stage to the mixing console as AES3 digital data.
The 6416m modules on stage are remote controlled
with an MCS connected to an RCI Remote Control Interface. One
of the 6416dio modules at the FOH position is used to insert 16
channels of return content into the network. Back on the stage,
the return content from the FOH position is output to the DSP
and speaker processing devices from a 6416o. (A 6416dio may be substituted for digital outputs to processors.)
The MH10f can be substituted for the MH10 hubs shown in the diagram to add fiber connectivity to this system.
Click image to enlarge This 48x16 digital snake provides 48 channels of remote controllable mic inputs, via three 6416m Mic Input Modules on stage, plus 16 returns, output to processors and amps by a 6416o Output Module. At FOH, a Yamaha console is equipped with three 6416Y2 A-Net Cards, providing up to 48 channels in and 48 channels out to and from the Pro64 A-Net network.
The MCS at FOH provides real-time status monitoring of all network audio channels, plus remote control of all audio settings and presets on the 6416m modules.
Click image to enlarge This 48x16 digital snake adds the flexibility of two MH10f Merger Hubs?one in the stage rack and one at FOH?allowing Stage and FOH to be connected by Cat-5e or single- or multi-mode fiber. Backup cables of either type may be added.
Both audio and control data are passed seamlessly over the fiber optic link.
Click image to enlarge This system adds a Pro16 Monitor Mixing System to the basic 48x16 Pro64 digital snake. Audio content for the Personal Mixers is routed to the Pro64 network from the Yamaha console, through the second 6416Y2 A-Net Card. The ASI A-Net Systems Interface on stage translates the A-Net data from the Pro64 system to the Pro16 format used by the Personal Mixers.
A second zone of personal mixing content, for further customization of mixing, can be added with no additional hardware, using the remaining 6416Y2. The ASI supports up to four 16-channel Pro16 A-Net Outputs.
Click image to enlarge This basic Pro64 digital snake system provides 16 remote controllable mic inputs on stage via a 6416m Mic Input Module, analog outputs (mic or line level) at FOH via a 6416o Output Module, and 16 analog returns from FOH to stage. Remote control is provided via the MCS connected to the RCI Remote Control Interface at FOH.
The system can be expanded by connected additional mic input modules on stage and output modules at FOH. Output splits, such as for a recording rig, can be added to any open A-Net port anywhere in the system.
Click image to enlarge This system combines a 32x16 Pro64 digital snake with the flexibility and control of a Pro16 Monitor Mixing System.
Thirty-two inputs are provided on stage via two 6416m Mic Input Modules, remote controllable from FOH with the MCS Mic Control Surface. These signals are connected to the analog FOH via two 6416o Output Modules. Up to 16 return signals can be passed from the console back to processors on stage via a 6416i Input Module at FOH and a 6416o Output Module on stage.
Audio for the monitor system is supplied from the console to a second 6416i at FOH. The ASI A-Net Systems Interface module on stage passes this audio data to the A-16D Pro and the Pro16 Personal Mixers.
The MH10 Merger Hubs shown here allow devices in each rack to be connected in parallel and also provide a simple means for connecting backup cables between the stage and FOH racks.
AV-M8
Mic Input Module
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A-16R
Rack-Mount Personal Mixer
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A-16CS
Control Surface
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AV-P2
Output Module
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AN-16/o v.4
Output Module
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MH10f
Merger Hub
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Art Institute of Seattle Adds Pro16 Cue System
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Theater Program Quality Improves With Addition of Pro16 Monitoring |
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London School of Sound Adds Cue System |
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Smooth Recording Sessions at The Tank Studio |
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Aviom PA System Becomes an Educational Tool |
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University in Korea Installs Aviom Source Select System |
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Widener University Studio Installs Aviom Personal Mixers |
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Towson University Uses A-16II Personal Mixers to Teach the Fundamentals of Recording |
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University of the Sciences Saves Time and Money with Aviom |
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Ball State Installs a Second Aviom Pro16 Personal Mixing System |
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NSULA Theatre Maximizes Flexibility with a Pro64 Audio Network |
A-16II Guided Tour
This video explores many of the features and functions of Aviom's revolutionary A-16II Personal Mixer. Follow along to learn how to select channels, adjust volume and pan, save and recall Presets, and more.
Pro16 in 2.5 Minutes
Well, our multimedia guys got into the Red Bull again, and the result is this fast paced overview of Aviom's Pro16™ Monitor Mixing and Audio Distribution systems. Fasten your seatbelt and enjoy the ride.
Intro to the 6416m Mic Input Module
Ray Legnini, Aviom's Product Research and Development Manager, takes you on a tour of the features and benefits of our revolutionary new 6416m Mic Input Module.
- Remote Control of Yamaha Mic Pres with the 6416Y2 and VDCs
Pro64 Virtual Data Cables can be used to send control data from a Yamaha digital console to Yamaha remote-controllable mic preamps such as the AD8HR. This document explains how to set up your system and configure the 6416Y2 card for this application.
- Aviom Product Applications Book - Screen Version
Sample System Diagrams for: Commercial AV, Houses of Worship, Broadcast, Live Sound, and Studios. This book contains over 20 CAD drawings showing sample installations of Aviom audio networks, audio distribution and personal monitor systems in a variety applications.
- Using Fiber Optics With Pro16 Systems
For applications requiring cable runs longer than 500ft (150 m), fiber optic media converters can be used to extend the distance between Pro16 devices to up to 50 miles (80 kilometers).
- A-Net v. Ethernet - Networking Designed for Audio
Streaming networking technology delivers greater power and performance than Ethernet.
- Managing Jitter, Wander, and Latency in Digital Audio Networks
Challenges facing designers of professional-grade digital audio equipment are discussed with clear examples of the advantages of A-Net Pro64.
- A Closer Look at A-Net
Comparing Pro16 and Pro64 - learn about the two versions of Aviom's exclusive A-Net audio transport technology, and find out which is best suited for your application.
- Calibration and Gain Staging with Digital Transport
Learn how to address the most common source of trouble for console users making the switch to digital transport - gain stage calibration.
