“Aviom's Pro64 is an extremely powerful tool for us because the system makes all inputs and outputs available throughout the entire system at all times.”

Chris "Sully" Sullivan
FOH Engineer, Luke Bryan

Applications:

Monitor Mixing, Digital Snakes

AVIOM PRODUCTS

Pro64 Series
3 6416m Mic Input Modules
3 6416Y2 A-Net Interface Cards
1 RCI Remote Control Interface
1 MCS Mic Control Surface
3 6416o Output Modules
2 ASI A-Net Systems Interfaces

Pro16 Series
1 A-16R Personal Mixer
2 AV-P2 Output Modules

Download System Diagram

Sullivan uses three Aviom 6416m Mic Input Modules in three separate small racks that are placed left, center and right on the stage. The input modules are interconnected with Cat-5 cable running A-Net®, allowing for convenient connections of the performers' mics and instruments, minimizing long copper wire runs and simplifying setup and teardown. The A-Net signal is transported via Cat-5 to three 6416Y2 A-Net Interface Cards in a Yamaha® M7CL digital console to drive the monitor system, where the mix is controlled locally for onstage in-ear systems. Monitor engineer Ed Janiszewski remotely controls the 6416m mic preamps directly from the Yamaha console using m-control™ for Yamaha digital consoles.

Because the Pro64 system is an audio network, Sullivan has a number of unique interconnect options. In the past to get the mic signals to front of house, Sullivan would need to split the mic signal at least twice, and then route it down a 300-foot copper snake to the FOH mic pre, compromising microphone performance. Now, with the addition of two Aviom 6416o Output Modules, each offering 16 balanced mic- or line-level analog outputs, connecting the performers' mics to the main FOH board is a breeze and Sullivan adds, "as far as the microphones are concerned, they only ever see one mic preamp. We can split the signal as much as we like in the digital domain without ever loading the microphones down excessively."

The switch to Aviom yielded results on stage as well. "The band members all commented on the great sound from the Aviom 6416m mic pre," explains Sullivan. "They had used an older, high-quality analog console for a while and were not too pleased about switching to a digital desk. When we added the Aviom mic pres and began using the Aviom system clock, the audio for their monitor mixes was not only restored, but was in fact surpassed. Needless to say we are very happy with the sound quality."

For Sullivan, however, the real benefit comes from the flexibility the system gives them as the tour travels from city to city. "Presently, we are not carrying a front of house console, so we are relying on a 'desk du jour' supplied by the local sound company," states Sullivan. "Aviom's Pro64 is an extremely powerful tool for us because the system makes all inputs and outputs available throughout the entire system at all times. This means that I can run a Cat-5 cable from any A-Net box anywhere on the stage to a pair of 6416o output units that we place either next to the FOH stage box or right out front on the doghouse of the front of house desk. We have a pair of short XLR fan-out snakes to connect the Aviom 6416o outputs to the stage box or FOH console to deliver crystal clear audio. Aviom has allowed us to shed our long copper runs, making setup and take down very efficient. In every way the Aviom Pro64 has made monitoring and setup easy."

"We've been using the Aviom system for the Tonight Show with Conan O'Brien band since the debut. Having the musicians mix themselves has allowed me to focus more on the production elements and cues. From a monitor engineer's perspective, it's the Holy Grail."

Dave Winslow
Monitor Engineer

Applications:

Monitor Mixing

AVIOM PRODUCTS

Pro16 Series
2 AN-16/i Input Modules
8 A-16R Rack-mount Mixers
8 A-16CS Control Surfaces

 

 

 

The setup for the Tonight Show includes two AN-16/i Analog Input Modules to interface the two separate Aviom Pro16 systems to the Yamaha PM1D console. Near the console, eight A-16R Rack-mount Mixers are daisy chained via Aviom's A-Net® digital audio protocol. A custom loom of Cat6 cable fans out to the monitor positions on the bandstand. Each band member has an Aviom A-16CS Control Surface that serves as a remote controller for his A-16R. With the control surface, each band member can customize his mix while playing. At each monitor position, a Rolls PM50 Personal Monitor Amp has been mounted to power the IEM's. Weinberg and Vivino each wear a lavaliere mic, which they operate with a foot switch, to communicate with Winslow and the rest of the band.

Various music sources are being sent to the 32 channels of the two Aviom Pro16 systems running on set. Winslow has also created a stereo submix of production elements and talkback that connect to the stereo aux mix inputs on the rear panels of all eight Aviom A-16R Rack-mount Mixers.

In addition to providing the musicians the ability to personalize their mix, Aviom's personal mixing system also provides Winslow with the ability to ensure that each band member is receiving a good mix. "One thing to keep in mind is that musicians often have no concept of proper gain structure, so I chose the A-16R/A-16CS combination, instead of the simpler A-16IIs, in anticipation of that," Winslow explains. "Having the A-16R rack mounts next to me in monitor world allows me to not only see each performer's mix and levels, but also allows me to take over momentarily to fix any gain structure problems. Having Aviom has made communications on the set, at least with the monitor engineer, less necessary."

“Aviom lets us cutomize our own sound, so getting a personalized mix was easier than we thought.”

R (Arjan Nijman)
Bass and backing vocals
The [New] Shining

Applications:

Monitor Mixing

AVIOM PRODUCTS

Pro16 Series
1 AN-16/i Input Module
1 A-16D Pro A-Net Distributor
3 A-16II Personal Mixers

 

Designed for use in live performance or in the studio, the A-16II Personal Mixer gives each performer control over monitor mixes which can be custom tailored to their individual needs, allowing producers more time to focus on other tasks.

"Aviom lets us customize our own sound, so getting a personalized mix was easier than we thought," says R, guitarist for The [New] Shining.

"This is a very well thought out system, which has made it easier to focus on what we're doing – like making an awesome record," The [New] Shining lead vocalist Nax explains.

The 3,000-square-foot Bamboo Room Studio, aptly named for Musper's use of bamboo floors, was built as an extension to his Cincinnati home in 2004. The private facility offers all the modern, high-end equipment needed to complete a mastered music production, from start to finish. This includes the resources to write and record as well as produce stereo and surround sound mixes.

The studio features vintage instruments and recording equipment. Among this gear are vintage Pultec EQs, Urei 1176 limiters, a Lexicon 480L, and AMS RMX and DMX 15-80 units. Other equipment in the studio includes Pro Tools HD3 Accel powered by an Apple G5 and a collection of SSL 4000 plugins. Bamboo Room Studio also features Neumann, AKG, Rhode, Sennheiser and Shure mics, as well as preamps from Chandler, Focusrite and Vintech.

The [New] Shining's album, entitled Leap of Faith, is set to be released in the fall of 2009.

“In addition to having the remote head amp control at your finger tips, the Aviom system's flexibility of design allowed me to easily create an isolated split of the band for a multi-track recording.”

Simon Gregory
Head Engineer, System Sound

Applications:

Monitor Mixing, Digital Snakes

AVIOM PRODUCTS

Pro64 Series
2 6416m Mic Input Modules
1 RCI Remote Control Interface
1 MCS Mic Control Surface
4 6416i Input Modules
7 6416o Output Module
2 MH10 Merger Hubs
1 ASI A-Net Systems Interface

Pro16 Series
1 A-16D Pro A-Net Distributor
8 A-16II Personal Mixers

Download System Diagram

Also at FOH, Gregory has an RCI Remote Control Interface and an MCS Mic Control Surface so that he can remotely control the Aviom mic preamps and monitor all the mic- and line-level inputs on stage.

In addition to using A-Net^® to distribute audio from stage to FOH and from FOH to recording, System Sound uses Aviom’s Pro64 VDC™ technology to distribute RS232 and MIDI. RS-232 is used to support bidirectional text communication between stage and FOH, while MIDI is used for a variety of applications such as triggering a conductor's track. For most shows, the sound company also integrates an Aviom Pro16^® Personal Mixing system (shown in the diagram).

System Sound Director John Scandrett says, “The Aviom gear performs well and sounds great teamed with a Cadac console and the Meyer speaker system. That’s a good demonstration; it sounds as clean and natural as ever!”

“Particularly in today's economy, time and efficiency are your best friends
—from load in through load out. The more efficient you can be, the smarter you can work. And Aviom lets us work smarter.”

Jesse Logan
President, Showorks

Applications:

Monitor Mixing, Digital Snakes

AVIOM PRODUCTS

Pro64 Series
3 6416m Mic Input Modules
1 RCI Remote Control Interface
1 MCS Mic Control Surface
1 6416o v.2 Output Module
9 6416Y2 A-Net Interface Cards
1 MH10f Merger Hub

Pro16 Series
1 AN-16/i Input Module
10 A-16II Personal Mixers

Download System Diagram

For another large event, the Campbell Soup Company's annual event at the Tweeter Center in Camden, New Jersey, which was attended by approximately 1,400 employees, Showorks added an additional 48-channel split to its setup. "For that event, we did a three-way split using Aviom: one for front of house, one for monitors and one for recording," Allen recalls. "To do that with three analog snake systems would be cumbersome, and noise problems would make it even more challenging. With Aviom, there is none of that. You simply connect Cat-5 from console to console and you're done. That was the most sophisticated system we've put together using Pro64, but it was very, very simple to do."

Another benefit, explains Showorks Senior Audio Engineer Ken Keplar, is Aviom's reputation for exceptional customer service. "The Aviom staff is the best at communicating and helping us through the process," says Keplar. "We're big fans of Aviom because it is a growing company with a great product.  The system has been great. We haven't run into any limitations with it. For our particular application, it's been flawless."

According to Jesse Logan, president of Showorks, that flawless performance and reliability are critical to success for live events and demanding corporate clients. "Particularly in today's economy," says Logan, "time and efficiency are your best friends—from load in through load out. The more efficient you can be, from load in to load out, the smarter you can work. And Aviom lets us work smarter."

“Aviom products are essentially digital building blocks from which we can design and implement a cost-effective digital snake that integrates seamlessly with any digital Yamaha console via an A-Net card, and allows for multiple mix locations using a system bridge.”

Christian Bechard, CTS-D
Senior AV Multimedia Designer, Novita

Applications:

Monitor Mixing, Digital Snakes

AVIOM PRODUCTS

Pro16 Series
3 AN-16/i-M Mic Input Modules
4 AN-16/o Output Modules
2 AN-16SBR System Bridges
1 Aviom16/o-Y1 A-Net Card
1 A-16II Personal Mixer

Download System Diagram

The Aviom digital snake is being used to send the microphone and line inputs from the stage to the church's Yamaha^® LS9-32, 32-channel digital mixing console. Two AN-16/i-M Mic Input Modules on stage send 32 channels to the Yamaha console at front of house over A-Net^®, Aviom's state-of-the-art digital audio transport protocol. An Aviom16/o-Y1 A-Net Card installed in the LS9 console sends the main feeds and monitor mixes from the console to the DSP at the stage. The Pro16 product line offers a modular approach to building digital snakes without complicated computer programming, so the components in SCBC's main sanctuary can be combined with other Aviom modules that the church owns to create different setups for different events. Using the AN-16SBR System Bridge, the system can support up to 64 channels on a Cat-6 cable and provides unlimited lossless digital splits.

In addition to this flexibility and to eliminating the need to run conduit for copper cables in the concrete, SCBC's decision to use a digital snake for audio distribution is also helping to keep electromagnetic interference (EMI) out of the equation. "Our sanctuary's acoustics were designed and treated professionally to be on the same caliber as a concert hall, so we needed to keep the noise generated by the audio system to a minimum," explains James Chan, technical director and systems architect for SCBC. "Minimizing potential EMI issues was at the top of my list during the AV design. Since the floor is concrete, if we had to reroute conduits after building construction due to EMI problems, it would have been an expensive undertaking. With a digital snake, it is immune to EMI."

The Aviom Pro16 digital system also ensures that SCBC is prepared for any future expansions of its AV offerings. "During our building construction, we did not know how many mic input channels we were going to need now and in the future," Chan continues. "Going the analog route would have meant pulling a lot of cables which we may not use for a while or at all. With the Aviom digital snake, all we need is one Cat-6 cable and we've got all the expandability we need for the foreseeable future."

“With our wireless mic rack backstage connected via two 6416m Mic Input Modules, and the ability to add an additional 6416m wherever the orchestra is situated, we have unlimited freedom to reconfigure our audio network according to the needs of each individual production.”

Shawn Parr
Sound Design Faculty, NSULA

Applications:

Audio Networking

Related Articles: Systems Contractor News

AVIOM PRODUCTS

Pro64 Series
4 6416m Mic Input Modules
2 6416i Input Modules
4 6416o Output Modules
1 MH10 Merger Hub

Download System Diagram

"Due to the nature of modern theatre and the requirement differences between the two seasons, all of the equipment we use must have a great deal of flexibility," says Shawn Parr, sound design faculty member. "For example, our last summer season musical was produced as a dinner theatre show with the audience placed on stage at tables in a circular pattern and the actors in the center. Our front-of-house mixing position was in the orchestra pit, and with this system, we were able to get audio flowing back and forth between the two as well as to our booth location. With our wireless mic rack backstage connected via two 6416m Mic Input Modules, and the ability to add an additional 6416m wherever the orchestra is situated, we have unlimited freedom to reconfigure our audio network according to the needs of each individual production."

Because it's a learning environment, the university required a system that was simple to set up and easy to configure and operate so that students could get a solid introduction to working with a digital audio network without it being too complex. From their experience with the Aviom Pro64 system, students can easily learn about the setup and functionality of a digital audio network.

The new system at Northwestern State University starts in the main booth location with an Aviom MH10 Merger Hub that provides an A-Net® connection, Aviom's high-speed digital audio transmission protocol, to a 6416o Output Module, a 6416i Input Module and several other locations throughout the theatre. Similar to an Ethernet switch, the MH10 allows for parallel connections.

A Cat-6 data run extends from the MH10 to multiple locations in the theater, including the stage, orchestra pit and regular front-of-house mix position. A rack with an additional 6416o and 6416i is located at the FOH location and provides 32 inputs into the mixer. To accommodate the theater's ever-changing production requirements, additional racks of Aviom input and output modules enable the sound designers to create a digital snake wherever necessary.

Parr adds that while the school could have taken a more traditional route by incorporating a copper wire snake, working out the logistics of running the wire, creating transformer splits and keeping track of breakouts, boxes and mutlipin snake extensions would have been very expensive and difficult to track.

"With the Aviom system being as configurable as it is, especially having the ability to daisy chain boxes, I feel it is a more elegant and easier solution to deploy," says Parr. "Since audio distribution and digital snake systems are starting to be used in many theatre venues now, it is a hot topic in the industry. By training our students on an Aviom system now and incorporating classroom discussion on the differences between other systems, our students will be very valuable to the industry when they graduate."

Along with its main production space, the university has two additional theatrical spaces, and although they are not equipped with a permanent Aviom infrastructure, the modular nature of its existing components allow the technical staff to put together quick, easy and effective ad-hoc systems whenever necessary. For such applications, Parr notes, using the Cat-5 and/or Cat-6 cabling offers a great advantage.

"It is readily available, relatively inexpensive and so small that running it through public spaces and scenery is much easier and safer than with a traditional snake," he says. "We never have to worry about an audience member tripping over cable. It's a perfect solution."

“By preamping and controlling all of the audience mics from a centrally located Aviom 6416m within the ceiling grid, we were able to greatly improve our signal to noise ratio.”

Mark Radu
Systems Engineer, P.A. Plus Productions

Applications:

Digital Snakes

AVIOM PRODUCTS

Pro64 Series
1 6416m Mic Input Module
1 RCI Remote Control Interface
1 MCS Mic Control Surface
1 6416Y2 A-Net Interface Card

Download System Diagram

 

As a result of Mandel's request, P.A. Plus set up a total of 14 audience mics, placed throughout the show's 5,000- seat venue. In order to monitor and control the levels of the microphones, the team installed an Aviom 6416m Mic Input Module, a 16-channel mic pre, in a centralized location within the ceiling grid with a 300-foot Cat-5 cable connecting it to the remote mixing location in the Broadcast Mobile, one of the company's remote trucks. The 6416m was controlled using an RCI Remote Control Interface and MCS Mic Control Surface at the console in the broadcast truck, where the digital signal was sent into a Yamaha^® M7CL equipped with an Aviom 6416Y2 A-Net^® Interface Card. The Cat-5 cabling connecting the 6416m to the 6416Y2 Card streamlined setup, ensuring reliable digital transport and saving the sound company time and money.

"By pre-amping and controlling all of the audience mics from a centrally located Aviom 6416m within the ceiling grid, we were able to greatly improve our signal to noise ratio over a standard analog set up," says Mark Radu, P.A. Plus Productions systems engineer. "It was also useful to be able to remotely monitor the mic levels with the RCI and MCS."

“I chose Aviom for our studios because of its technical specification and ease of use.”

Jeff Seitz
Audio/Digital Systems Engineer
Ball State University

Applications:

Monitor Mixing

AVIOM PRODUCTS

Pro16 Series
1 AN-16/i Input Module
1 Aviom16/o-Y1 A-Net Card
1 A-16D Pro A-Net Distributor
10 A-16II Personal Mixers

The second floor of the university's Music Instruction Building is home to 11 studios, along with an additional studio in the Sursa Performance Hall. To create a similar setup to that in Studio 1, an Aviom AN-16/i Input Module and an A-16D Pro A-Net^® Distributor were added to Studio 2, which features the world's first Digidesign ICON system. The studios share 10 Aviom A-16II Personal Mixers that are available for use in either studio. There's also an A-Net Card for Yamaha^® in the Yamaha DM2000 console housed in the performance hall for when headphone mixes are requested.

Students bring in a wide range of groups to record in Ball State's studios from classical to rock, and barbershop to metal. Studio 1 is currently booked to record all of the music for the feature film My Name is Jerry starring Doug Jones while Studio 2 is booked with student projects. Since the Aviom system is flexible, it can be adapted to the variety of projects these studios host.

"The biggest headache in tracking is getting a good headphone mix so that the musicians are comfortable with what they are hearing, and playing better because of it," continues Seitz. "Aviom changes all of that. Now, our engineers simply route select Pro Tools tracks to the Aviom mixers, dial in a rough mix, and let the musicians do the rest. The musicians love the control that they have and they get what they need without having to wait for a student engineer to make headphone mix adjustments from the control room."

“Using the Pro64 gear to interface with our Yamaha console streamlined our setup, and the sound is second to none.”

Mark Halberstadt, Sound Engineer
and Saxophonist, Funkiphino

Applications:

Monitor Mixing, Digital Snakes

AVIOM PRODUCTS

Pro64 Series
1 6416m Mic Input Module
1 6416Y2 A-Net Interface Card
1 ASI A-Net Systems Interface

Pro16 Series
1 A-16D Pro A-Net Distributor
8 A-16R Personal Mixers
1 AN-16/i-M Mic Input Module

Download System Diagram

"We're a 13-piece funk band and our sheer size limits the places we can play," says Fischer. "Our relationship with Aviom equipment turned into an evolution in our working model, replacing first our outdated, feedback-ridden floor monitoring system and, in its final form, actually changing our front-of-house mix system."

Because of the close integration between Yamaha and Aviom, the group decided to move ahead with a Yamaha DM1000 digital console for the front-of-house mix. "We upgraded to the digital console and the Aviom Pro64 system. The change for us was dramatic," says Mark Halberstadt, the technical advisor for the band. Using the 6416m Mic Input Module and the 6416Y2 A-Net Interface Card, the band sends 16 channels of digital audio directly into its console from the stage inputs. The 6416Y2 card also sends 16 returns to the band’s A-16R Personal Mixers.

But what is most unique about the band’s setup is that all the rack-mounted gear and the front-of-house console are located backstage. The sound engineer controls the console from across the room in a typical front-of-house position from a tablet PC that is wirelessly connected to the console. This allows the front-of-house engineer to actually be where he is supposed to be—out in the audience without the need for gear that will affect the view or traffic flow—a crucial element for private events.

"When you take a look at what we are doing, it is hard to believe that everybody isn't doing this," states Halberstadt. "We no longer need to run a snake across the room into the console, because we no longer need to have a console out in the middle of the audience. For a high-end corporate event or exclusive wedding, the facility owners and the clients are extremely happy. We can now deliver a better sounding performance and we take up 50 percent less room. Where we had to run snakes onstage, we now run a Cat-5 cable and our front-of-house engineer can be completely wireless. The entire evolution of this system is incredible and it started with the Aviom card for the Yamaha console."

In addition to making the group more marketable due to its low-profile front of house, the new setup improved communication for the band. Halberstadt says, "The first thing we instituted with the new system was an intercom channel where the members can converse and the drummer can count off a song without involving the audience."

The Aviom Pro64 setup has also helped to reduce Funkiphino's setup time while still maintaining the group's sonic quality. Says Fischer, "We can now walk into a facility, set up and know that 95% of our sound is ready to go. This takes an enormous amount of stress out of each setup in terms of scheduling. We all want to be efficient at all times, but this is show business after all, and the nature of the business is to expect the unexpected. Now, we are carrying a lot less equipment and we are setting up very compactly. If we are running late for some reason, we simply turn on the system, hit a button and we are performing."