Systems
- Monitors
- Snakes
- Networks
- Source Select
- Conference
- Remote Mixing
Click image to enlarge Four performers have individual control of up to sixteen channels of audio drawn from the console. Performers can listen to their mixes with headphones, IEMs, or powered wedges. The A-16D Pro A-Net Distributor supplies audio and power to the individual Personal Mixers.
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 This system draws digital audio directly from a Yamaha digital console using the Y1 A-Net Card. The A-Net audio stream is transported to an A-Net Distributor, which supplies audio and power to six Personal Mixers. 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.
Click image to enlarge Using A-16R Rack-Mount Mixers allows all audio connections to transmitters for wireless in-ears and/or amps for wedges to be kept together in a single rack, while performers use A-16CS Control Surfaces to control their mixes remotely.
The A- 16CS gives the performer control of all mix functions of the A-16R from up to 200 feet (60m) away.
Click image to enlarge By adding a second input module and preparing submixes from a console, different sets of monitor channels can be sent to groups of performers, giving more precisely tailored control to the individual sections. In this example, the drummer uses four channels for drums and a stereo submix of background vocals, while the singers use a stereo submix of drums and individual vocal channels. This allows musicians to focus control on the channels most important to them.
There is no limit to the number of monitoring zones that can be used simultaneously.
Click image to enlarge This monitor system uses two Y1 console interface cards in a Yamaha console to provide two zones of monitor content for performers. The engineer can assign audio channels that are required in both monitoring zones to the same channels in each Y1 card from the console's user interface. At the same time, channels unique to each zone are assigned to a specific card.
Click image to enlarge This system adds a Pro16 Monitor Mixing System to the 32x16 Pro16 Digital Snake to combine plug-and-play signal transport with the industry standard for personal mixing, all onto a single Cat-5e cable.
The console in this example is fitted with two Y1 A-Net Cards, which send 16 channels of monitor content and up to 16 channels of returns back to the stage. AN-16/i Input Modules can be substituted for returns from an analog console.
Click image to enlarge This digital snake connects 32 channels of mic signals from four Yamaha® AD8HR preamps to a pair of 6416dio Digital I/O Modules. Pro64 A-Net connects the 6416dio modules to a Yamaha digital console fitted with two 6416Y2 cards. Content for return lines from FOH, as well as monitor content, is generated at the console and transmitted over the same Cat-5e cable back to the stage.
Alternatively, a digital split to a monitor desk can be added serially or with an MH10 Merger Hub. Monitor content can be returned to the stage over the same cable.
Monitor feeds are converted from Pro64 A-Net to the Pro16 format compatible with Pro16 Personal Mixers by the ASI.
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 This basic Pro16 snake uses the A-Net Expansion jacks to combine two 16-channel streams (one for sends and one for returns) onto a single Cat-5 cable, up to 500 feet (150m) in length.
By adding an A-Net Distributor and Personal Mixers, return channels can also be used for a Pro16 Monitor Mixing System.
Click image to enlarge Well suited for broadcast productions, this system illustrates how to transfer 16 channels of audio over fiber from a venue to a remote location, such as a production truck.
Analog line-level inputs are shown, but the AN-16/i-M Mic Input Module can be substituted if mic-level inputs are required for an application.
Click image to enlarge Using third-party media converters, a pair of Pro16 input modules each transmits 16 channels to a pair of AN-16/o Output Modules over single- or multi-mode fiber. Sixteen channels are transmitted in each direction for a 16x16 configuration.
The AN-16/i line-level input module is shown in the diagram, but the AN-16/i-M Mic Input Module can be substituted to move mic-level signals.
Digital splits can be created by simply connecting additional output modules with a Cat-5e cable.
Click image to enlarge With the addition of a pair of AN-16SBR System Bridges to the system, 32 inputs from stage and 16 returns from FOH are transported up to 500ft/150m on a single Cat-5e cable.
Lossless splits to secondary output locations, such as a recording rig, can be added by simply connecting additional output modules as needed.
Click image to enlarge This system adds a Pro16 Monitor Mixing System to the 32x16 Pro16 Digital Snake to combine plug-and-play signal transport with the industry standard for personal mixing, all onto a single Cat-5e cable.
The console in this example is fitted with two Y1 A-Net Cards, which send 16 channels of monitor content and up to 16 channels of returns back to the stage. AN-16/i Input Modules can be substituted for returns from an analog console.
Click image to enlarge Forty-eight channels of mic/line inputs on stage are connected to three AN-16/i-M Mic Input Modules. All 48 channels are transported via A-Net using a single Cat-5e cable to FOH, where three AN-16/o Output Modules convert the digital audio to analog for connection to the mixing console.
Sixteen channels of return lines from FOH travel over the same Cat-5e cable by incorporating a digital console card and an AN-16/o Output Module.
The AN- 16SBR System Bridge is used to combine the A-Net streams from four devices onto a single Cat-5e cable.
An AN-16/i Input Module can be substituted for return lines from an analog console.
Click image to enlarge In this basic Pro64 system, two sets of 16 inputs and outputs are shown. Analog line-level audio signals are shown patched into two 6416i Input Modules; substituting the 6416m for mic-level inputs or the 6416dio for AES3 digital inputs is as simple as swapping out a module. Once active on the Pro64 network, these channels can be output anywhere by simply tuning an output module to the same channel range as the inputs.
Additional input or output locations can be added anywhere in the system by connecting additional input or output modules (analog, digital, or console cards).
Click image to enlarge Each 6416dio Digital I/O Module in a Pro64 network is capable of 16in/16out operation at sample rates up to 192kHz. This system shows 16 AES3 digital audio signals patched into each 6416dio module; input channels are assigned to Slot ranges within the network. Once active on the Pro64 network, these channels can be output anywhere by simply tuning an output module to the same channel range. In this example the same 6416dio modules used for inputs can also output 16 digital AES3 signals from a different Slot range within the Pro64 network.
Digital splits can be created anywhere in the network by connecting additional I/O modules or console cards.
Click image to enlarge This digital snake connects 32 channels of mic signals from four Yamaha® AD8HR preamps to a pair of 6416dio Digital I/O Modules. Pro64 A-Net connects the 6416dio modules to a Yamaha digital console fitted with two 6416Y2 cards. Content for return lines from FOH, as well as monitor content, is generated at the console and transmitted over the same Cat-5e cable back to the stage.
Alternatively, a digital split to a monitor desk can be added serially or with an MH10 Merger Hub. Monitor content can be returned to the stage over the same cable.
Monitor feeds are converted from Pro64 A-Net to the Pro16 format compatible with Pro16 Personal Mixers by the ASI.
Click image to enlarge In this system, a pair of 6416Y2 cards are set up to link two Yamaha® digital consoles. By setting each card to transmit and receive a unique region of the Pro64 network, the operators can easily transfer audio signals between the consoles digitally.
Digital splits of the audio from either or both consoles can be created simply by adding Pro64 output modules set to the same channel range as the channels you want to copy. The digital splits can be analog, digital, or even additional Yamaha consoles with 6416Y2 cards installed.
Up to 64x64 channels can be transferred between two consoles in this manner by populating the consoles with additional 6416Y2 A-Net cards.
Click image to enlarge In this system, a pair of Yamaha® digital consoles are
linked
with a 32x32 Pro64 digital snake that uses just one Cat-5e
cable between the two locations. Each console has two 6416Y2
cards installed, each of which can provide 16 inputs and 16
outputs simultaneously. By setting each card to transmit and
receive a unique region of the Pro64 network, the operators can
easily route and transfer audio signals between the consoles
digitally.
Digital splits of the data from either
console can be created by adding Pro64 output modules set to
the same channel range as the channels you want to copy. The
digital splits can be analog, digital, or even additional Yamaha
consoles with 6416Y2 cards installed.
Add the MH10 or MH10f Merger Hub to this system to provide
additional distance between the Pro64 devices or add parallel
connectivity.
Click image to enlarge The remote controllable 6416m Mic Input Module can
operate at sample rates up to 192kHz. Up to 16 mic signals are
patched into the 6416m and these input channels are assigned
to Slots within the network. Once active on the Pro64 network,
these channels can be output anywhere by simply tuning an
output module to the same channel/Slot range. In this example
a 6416dio module is used to output digital AES3 data from the
Pro64 network.
The RCI Remote Control
Interface and the MCS Mic Control Surface can be connected
anywhere in the Pro64 network and offer complete control over
the 6416m input channel parameters.
Digital
splits can be created anywhere in the network by adding
additional output modules (analog, digital, or console cards) set
to the same channel range.
By adding ASI A- Net Systems Interface to this setup, Pro16 output devices such as the A-16II Personal Mixer can be used.
Add the
MH10 or MH10f Merger Hub to this system to provide additional
distance between the Pro64 devices or add parallel connectivity.
Click image to enlarge Up to 16 mic signals are patched into the 6416m Mic input
Module and these input channels are assigned to Slots 1-16
within the Pro64 network. Once active on the network, these
channels can be output anywhere by simply tuning an output
module or console card to the same channel/Slot range. In this
example a 6416Y2 card in a Yamaha digital console is used to
connect the mic signals from the Pro64 network digitally to the
console.
To control the mic preamps, the RCI
Remote Control Interface and the MCS Mic Control Surface can
be connected anywhere in the Pro64 network. Here they are
shown connected to the second A-Net port on the 6416Y2
card installed in the Yamaha console.
The 6416Y2 card can output 16 channels form the console while
at the same time receiving the 16 mic inputs described above.
By adding ASI A-Net Systems Interface to this setup, Pro16
output devices such as the A-16II Personal Mixer can be used to
create a monitor system for performers.
Click image to enlarge On the stage, 48 mic signals connect to three 6416m
remote controllable mic preamps. 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 mic preamps 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 6416dio.
The MH10f can be substituted for the MH10 hubs shown in the diagram to add fiber connectivity to this system.
Click image to enlarge Up to 16 line-level signals are patched into a 6416i Input Module and these input channels are assigned to Slots 1-16 within the network. Once active on the Pro64 network, these channels can be output anywhere by simply tuning an output module to the same channel range as the inputs. In this example a 6416dio Digital I/O Module is used to output the signals from the Pro64 network as AES3 digital data. A second 6416dio is used to create a digital split; this 6416dio can be located anywhere in the network.
There is no limit to the number of digital splits; they can be analog, digital, or console cards.
Add the MH10 or MH10f Merger Hub to this system to provide additional distance between the Pro64 devices or add parallel connectivity.
By adding ASI A-Net Systems Interface to this setup, Pro16 output devices such as the A-16II Personal Mixer can be used to create a monitor system for performers.
Click image to enlarge In this basic Pro64 system, two sets of 16 inputs and outputs are shown. Analog line-level audio signals are shown patched into two 6416i Input Modules; substituting the 6416m for mic-level inputs or the 6416dio for AES3 digital inputs is as simple as swapping out a module. Once active on the Pro64 network, these channels can be output anywhere by simply tuning an output module to the same channel range as the inputs.
Additional input or output locations can be added anywhere in the system by connecting additional input or output modules (analog, digital, or console cards).
Click image to enlarge Each 6416dio Digital I/O Module in a Pro64 network is capable of 16in/16out operation at sample rates up to 192kHz. This system shows 16 AES3 digital audio signals patched into each 6416dio module; input channels are assigned to Slot ranges within the network. Once active on the Pro64 network, these channels can be output anywhere by simply tuning an output module to the same channel range. In this example the same 6416dio modules used for inputs can also output 16 digital AES3 signals from a different Slot range within the Pro64 network.
Digital splits can be created anywhere in the network by connecting additional I/O modules or console cards.
Click image to enlarge In this system, a pair of 6416Y2 cards are set up to link two Yamaha® digital consoles. By setting each card to transmit and receive a unique region of the Pro64 network, the operators can easily transfer audio signals between the consoles digitally.
Digital splits of the audio from either or both consoles can be created simply by adding Pro64 output modules set to the same channel range as the channels you want to copy. The digital splits can be analog, digital, or even additional Yamaha consoles with 6416Y2 cards installed.
Up to 64x64 channels can be transferred between two consoles in this manner by populating the consoles with additional 6416Y2 A-Net cards.
Click image to enlarge In this system, a pair of Yamaha® digital consoles are
linked
with a 32x32 Pro64 digital snake that uses just one Cat-5e
cable between the two locations. Each console has two 6416Y2
cards installed, each of which can provide 16 inputs and 16
outputs simultaneously. By setting each card to transmit and
receive a unique region of the Pro64 network, the operators can
easily route and transfer audio signals between the consoles
digitally.
Digital splits of the data from either
console can be created by adding Pro64 output modules set to
the same channel range as the channels you want to copy. The
digital splits can be analog, digital, or even additional Yamaha
consoles with 6416Y2 cards installed.
Add the MH10 or MH10f Merger Hub to this system to provide
additional distance between the Pro64 devices or add parallel
connectivity.
Click image to enlarge Using third-party media converters, a pair of Pro16 input modules each transmits 16 channels to a pair of AN-16/o Output Modules over single- or multi-mode fiber. Sixteen channels are transmitted in each direction for a 16x16 configuration.
The AN-16/i line-level input module is shown in the diagram, but the AN-16/i-M Mic Input Module can be substituted to move mic-level signals.
Digital splits can be created by simply connecting additional output modules with a Cat-5e cable.
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 Up to 16 audio channels connect to a Pro16 input module. Cat-5e cables are used to link AV-P2 2-channel output modules serially.
An unlimited number of AV-P2 output modules can be connected. Each can be up to 500 feet/150 meters apart.
For an 8-channel system, substitute the AV-M8 Mic Input Module.
Click image to enlarge Up to 16 audio channels connect to a Pro16 input module which is connected to an A-16D Pro A-Net Distributor. The A-16D Pro distributes digital data and DC power to eight AV-P2 2-channel output modules.
The system can be expanded by adding A-16D Pro A-Net Distributors and AV-P2 modules as needed without requiring any additional configuration.
Click image to enlarge Up to 16 audio sources (any combination of mono and stereo, up to 16 channels) are connected to a Pro16 input module, where the input signals are converted to digital and transmitted as A-Net. The A-Net signal connects to one or more A-Net Distributors, which supply both the digital audio and DC power to the connected output devices, in this case the AV-P2 Output Module.
Users can select any of the input source channels to be monitored by using the rotary selector on the front of the AV- P2.
Click image to enlarge Up to 16 audio sources (any combination of mono and stereo, up to 16 channels) are connected to an input module, where the input signals are converted to digital and transmitted as A-Net. The A-Net signal connects to one or more A-Net Distributors, which supply both the digital audio and DC power to the connected output devices, in this case the A-16II Personal Mixer.
Users can select any of the input sources to be monitored using the channel buttons on the front of the A-16II, while monitoring with headphones, earbuds, or powered speakers.
Click image to enlarge When a large number of users need access to a group of audio channels, Pro16 Series modules can be combined to create a robust yet easy-to-operate audio distribution system that can be expanded almost indefinitely.
This diagram shows a large press room or translation service feed that uses a line-level input module to feed multiple A-Net Distributors. Each distributor can send data and DC power to up to eight units. Monitor stations can also be connected serially, with power provided locally.
Expand the system with additional distributors and monitor stations.
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 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 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 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.