Analog Simplicity: Plug-and-Play All the Time
Aviom digital snake systems streamline design, installation, set up, and operation.
Whether you're in a regional band, supporting a national tour, producing a corporate event, or shooting on location, an Aviom digital snake will help you to work faster and more efficiently, while delivering consistently excellent results.
Simply connect your existing audio sources and a Cat-5e cable, and you're ready to go.
Flexibility to Adapt: Reconfigure Without Programming
An Aviom digital snake lets you create any number of lossless digital splits, reconfigure a system for different productions without reprogramming, and expand as your needs change. It's all modular, and it's all plug and play.
Transparent Mic Preamps: Clear Sound with Intuitive Control
Choose the set-and-forget mic preamps of the Pro16 Series or Pro64's remote-controllable and recallable mic pres. With a Pro64 system, audio settings can be controlled from Aviom's MCS Mic Control Surface, most Yamaha digital consoles, or Aviom's Network Manger PC app. No matter which product line you choose, all Aviom preamps deliver clean, transparent sound.
An Aviom digital snake will improve the audio fidelity and reliability of your audio system by eliminating ground loops, RF interference, and signal degradation. A-Net, Aviomís state-of-the-art digital audio transport protocol, meets the most demanding specifications for audio fidelity and clock integrity.
Aviom digital snakes are a cost-effective way to distribute audio from point to point, especially when you need a system that can easily be scaled to connect additional I/O or production locations or that offers the versatility of a true network.
What an Aviom Digital Snake Can Do For You
Getting Audio In: Mic Inputs on Stage or Set
The mic input module or card includes a high fidelity mic preamp for each input channel and converts the incoming signals to digital. The resulting signal is output on a Cat-5e cable or fiber optics (depending on the specific products selected).
Getting Audio In: Return Inputs from FOH/Mix Position
Use input modules or console cards to take return signals (for main speakers and monitors) from the analog or digital console. As on stage, these signals are converted to digital (if not already digital) and output over Cat-5e or fiber.
Getting Audio Out: Outputs to Consoles, Amps & Speakers
Use output modules or console cards to get audio out of the snake—on stage, at front of house, in lobbies, at split locations, etc.
Extending the System: Integrating Other Features
Mic preamp control
Pro64 mic preamps can be controlled remotely from the MCS Mic Control Surface, most Yamaha digital consoles, or the Pro64 Network Manager™ PC control application.
Lossless splits to addtional mix positions, recording, or broadcast are as simple as running an additional Cat-5 cable and connecting output modules as needed.
Both the Pro64 Series and the Pro16 Series offer options for adapting the system's wiring to your needs.
Aviom Personal Mixers
The world's leading personal mixers can be seamlessly integrated with nearly any Aviom digital snake.
PRO16 SERIES DIGITAL SNAKES
- Set-and-forget mic preamps
- Modular in 16-channel blocks
- Analog outputs only
- 48kHz, 24 bits
- Unidirectional interface to most digital consoles (outputs from console)
PRO64 SERIES DIGITAL SNAKES
- Remote controllable mic preamps
- Fully matrixable
- Bidirectional interfacing to Yamaha digital consoles
- AES3 digital I/O
- Integrated fiber connectivity
- Optional PC-based system management
- 48, 96, 192kHz (most products) at 24 bits
- Stage box option
For each block of 16 channels coming from the stage, you need an AN-16/i-M Mic Input Module. Stage inputs are connected directly to the AN-16/i-M, which converts them to digital and outputs them on a Cat-5 cable for transport to front of house.
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Converting to Digital
The AN-16/i-M features 16 mic/line level inputs with simple set-and-forget mic preamps. Mics and line-level sources can be connected directly to the rear panel, and the AN-16/i-M amplifies the signals if necessary, converts them to digital, and outputs a 16-channel digital audio stream using Pro16 A-Net.
Note that the AN-16/i-M also has a passive thru jack for each channel, so mic signals can be split without additional hardware. This allows the same signals to be connected to other nearby gear, such as a monitor console.
Converting Back to Analog
These signals will be converted back to analog at the front-of-house mix position utilizing an AN-16/o v.4 Output Module. The AN-16/o v.4 receives the A-Net data stream, converts the channels back to individual analog signals, and outputs the channels at the selected analog signal level.
Returns from the Mix Position
For returns from the console back to the stage area (for main amps or traditional monitors), use an AN-16/i v.2 Input Module or Pro16 A-Net digital console card to take up to 16 individual outputs from the console.
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The AN-16/i v.2 accepts 16 line-level analog signals and converts them to digital. Any output signal from the console—aux or main outs, for instance—can be connected. The Aviom input module outputs a second Pro16 A-Net audio stream which sends these return signals back to the stage.
Digital console users can also replace the analog input module at the mix position with a Pro16 A-Net card from Aviom or one of our partner manufacturers. These cards provide a direct digital interface to the console, eliminating the need to convert channels back and forth between digital and analog coming from the console.
Regardless of whether you utilize an analog input module or a digital console card at the mix position, a second AN-16/o v.4 Output Module on stage is used to convert these return signals back to individual analog channels for connecting to amps and the like.
While each Pro16 A-Net stream is limited to 16 channels, up to four Pro16 A-Net audio streams can be carried on a single Cat-5e cable, up to 64x0, 48x16, or 32x32. This allows you to run only one Cat-5 cable for the main cable run between stage and FOH.
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In systems configured as 16x16 or 32x0, the A-Net Expansion jacks on the AN-16/i-M and AN-16/o v.4 can be used to combine two streams onto a single cable. Note that, unlike the Pro16e version of A-Net which expands the channel count of the A-Net stream, the A-Net Expansion jacks simply allow parallel 16-channel streams to be carried on a single cable.
For larger systems, the AN-16SBR System Bridge combines four 16-channel A-Net streams in a similar manner. The rear panel features four A-Net jacks (labeled A, B, C, and D); the front-panel Bridge jack will carry all four of these independent streams on a single cable. A second AN-16SBR at the other end of the run is used to route the individual streams back to separate cables for connecting to individual I/O modules.
One of the advantages of a digital snake is the ease of getting a high fidelity split. While analog snakes require the use of transformers to get real isolation, an Aviom digital snake allows you to get additional copies of some or all of the signals quickly, easily, and reliably.
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With the Pro16 Series, adding a split is as simple as connecting another Cat-5 cable and output module. There is no practical limit to the number of times a signal can be split, and splits can be wired in series (daisy chaining from the A-Net Out of one device to the A-Net In of the next) or in parallel (using an A-Net Distributor such as the A-16D Pro). Use the AN-16/o v.4 anywhere a high-channel-count split is needed or the AV-P2 Output Module if you need only a single channel or stereo pair.
Adding Aviom Personal Mixers
Integrating Aviom Personal Mixers with your Aviom digital snake is straightforward. This gives you the fidelity and convenience of plug-and-play digital connectivity and the simple control of the industry leading personal mixing system.
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Depending on your systemís size and setup, there are a number of options to consider.
For smaller ensembles, with 16 or fewer inputs on stage, the AN-16/i-M includes an A-Net Aux output, which can be used to send a copy of the A-Net stream directly to Aviom Personal Mixers (either daisy chaining or, more commonly, using an A-Net Distributor). This is an ideal solution for local or regional bands that want their monitor system to be isolated from a venueís sound engineerís workflow.
A second option, if youíre using only a few channels for FOH returns, is to combine monitor mixing channels and the FOH returns in the 16-channel A-Net stream from the console back to the stage. An AN-16/o v.4 or AV-P2 can be used to take the FOH return channels to the main speakers, while an A-Net Distributor sends all channels to Aviom Personal Mixers. As a bonus, the main mix will be available on the Personal Mixers, as an easy starting point for musicians who prefer not to have to mix much.
Finally, an Aviom personal mixing system can simply piggyback on the same cables with digital snakes that use only three 16-channel streams. The DS32Mix 32x16 Digital Snake with Personal Mixing is configured as such.
To connect microphones and other sources on stage, use a 6416m Mic Input Module or AllFrame equipped with C4m Mic Input Cards. Both units feature premium remote controllable mic preamps to amplify signals before they are converted to digital and output as a Pro64 A-Net digital audio stream.
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High Fidelity Mic Preamps
Pro64 Series mic preamps are known throughout the industry for their clean, transparent sound, and Pro64 digital snakes ensure that your connectivity solution doesnít color the sound you work so hard to create. All Pro64 mic preamps include per-channel phantom power, low-cut filter, phase invert, and pad, plus gain control in 1dB increments. All audio settings can be controlled remotely from anywhere in the system, as well as from the front panel of the 6416m.
6416m or AllFrame
The 6416m and an F6 Modular I/O Frame equipped with C4m Mic Input Cards can both be used for stage inputs in a digital snake. The 6416m is a 3U rack-mounted unit, with XLR inputs and DB25 passive splits/alternate inputs and EtherCon RJ45 jacks for network outputs, plus a complete user interface that provides access to all audio settings, including level metering.
Like the 6416m, the F6 can also be rack-mounted (RK6 Rack-Mount Kit required). However, the F6 can also be used a stage box (SK6 Stage Kit required) or mounted on or in a wall using a standard NEMA-style backbox. This allows the F6 to be placed closer to the original audio sources, often eliminating analog tie lines or subsnakes. Additionally, because the AllFrame Multi-Modular I/O System is a card-based system, the F6 can also be outfitted with C4o Analog Output Cards or C4dio Digital I/O Cards, allowing you to utilize hardware most efficiently.
Connecting to a Console
To connect stage input sources to your console, the Pro64 Series includes options for analog outputs, AES3 outputs, and a direct interface to Yamaha digital consoles. Simply select the interface type and count required for your console type and stage input channel count.
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For analog outputs to your console, use the 6461o v.2 Output Module (16 mic- or line-level analog outputs) or an F6 equipped with C4o Analog Output Cards. The 6416dio Digital I/O Module provides 16 AES3 outputs, and the 6416Y2 A-Net Card provides a direct digital interface to and from Yamaha digital consoles. Each 6416Y2 provides 16 channels in and 16 channels out (8x8 at 96kHz), and multiple cards can be installed in a single console for increased capacity.
Returns From the ConsoleUse the 6416i Input Module for analog returns from the console, or C4m Mic Input Cards in an F6. Remember that an F6 can host both input and output cards, so an AllFrame may be the most efficient way to interface to your console (C4m channels include a pad for use with line-level inputs).
Digital returns can be connected to your Pro64 digital snake with a 6416dio Digital I/O Module, C4dio Digital I/O Cards in an F6, or 6416Y2 A-Net Cards for Yamaha digital consoles.
Connecting Your Snake
Because Pro64 A-Net has no directional limitations on signal flow, devices can be connected in any order and in any combination of serial or parallel connections. Parallel wiring requires the MH10 or MH10f Merger Hubs, 10-port devices similar to an Ethernet switch but designed for real-time audio connectivity. Simply connect devices in the most convenient manner for your system, and place I/O devices exactly where you need them.
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Cat-5e or Fiber
Pro64 A-Net supports Cat-5e cable runs up to 400 feet (120m) between devices. For applications requiring longer cable runs, the MH10f Merger Hub includes two SFP slots for fiber optic transceivers. Either single- or multi-mode transceivers and fiber may be used. Additionally, the F6 Modular I/O Frame includes both EtherCon RJ45 jacks and SFP slots for fiber transceivers.
Serial or Parallel Connections
On the most basic level, there is no real advantage to serial or parallel connections; the Pro64 network ensures that every channel in the system is available throughout the system, regardless of where it originated and how devices are connected.
In most cases, daisy chaining devices is the most economical approach, as it eliminates the need for MH10 or MH10f Merger Hubs. However, many system designers employ Merger Hubs within racks to reduce the number of connections in a daisy chain and, in permanent installations, to provide additional connection points to the Pro64 network.
Configuring the Snake
The Pro64 Series is a plug-and-play digital network, and no complex programming or addressing is required at any time. Many systems can be set up entirely from their front panels, in just a few minutes. More advanced configurations require use of the Pro64 Network Manager PC control application but can still be set up quickly and easily.
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If your system utilizes all rack-mount I/O devices, all setup can be accomplished from the front panels, simply by setting an A-Net Slot range for each unit (similar to a bank) and then activating channels into the network.
Systems that include AllFrame devices require the Pro64 Network Manager for assigning A-Net Slots and activating channels.
Hardware & PC Control Options
The Pro64 Series includes a number of options for controlling mic preamps and the network as a whole. Preamps can be controlled from the front panel (6416m only), from select Yamaha digital consoles, or from the convenient MCS Mic Control Surface. In addition, the Pro64 Network Manager provides simple control over nearly every element of a Pro64 digital snake.
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Remote Control of Preamps
Pro64ís m-control™ feature takes remote control commands from select Yamaha digital consoles and passes them to Pro64 preamps, allowing operators to maintain a familiar workflow. Multiple consoles may be assigned to control the same preamps, or control may be divided or assigned to only a single console.
The MCS Mic Control Surface may also be used for controlling Pro64 mic preamps remotely. In addition, the MCS provides signal-clip metering of the entire Pro64 network, plus high resolution metering of the selected channel. The MCS can also be used to save and recall presets stored in Pro64 mic preamps.
The MCS connects to the Pro64 network through the RCI Remote Control Interface. An MCS can be connected or disconnected at any time, without affecting the network in any way, and any number of RCIs can be installed anywhere.
The Pro64 Network Manger PC control application streamlines system management and control by allowing resources to be named, allowing device presets and network scenes to be saved and recalled, and providing access to nearly all network settings from a central location. In addition, Network Manager allows input and output devices to be fully matrixed, placing any channel in any network slot. This allows hardware to be used most efficiently.
To add a split—for recording, broadcast, monitors, or any other use—simply connect a Cat-5e cable to any open A-Net port in the system, and add Pro64 output devices (analog, AES3, or Yamaha digital interface) as needed. Because of Pro64ís revolutionary clock management algorithms, there is no signal degradation, even as you extend the system over many daisy chain connections.
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