Mixing stage monitors demands keen audio instincts, the patience of Job, and a talent for reading minds. In the secular world, it sometimes requires taking considerable verbal abuse. We can only speculate how many times a monitor engineer has declared in exasperation, "Why don't you just come over here and do it yourself, Mr. Zophar!"
Bingo. That's the idea exactly, except now you don't have to leave your place on stage. You can mix your own monitors right where you are, thanks to advancements in digital audio networking technology. Several new systems have just come into the market, so you have options at different levels of sophistication, features and cost.
All systems covered in this article are based on the same underlying technology. They all take multiple channels of audio, convert the signals to digital, break up the digital data into network packets, distribute them via thin and lightweight Cat-5 cable, reassemble the data at the user end, convert it to multiple channels of analog-and let you mix them.
But that's about all they have in common. If we say audio networking is like fruit, then this article is about fruit salad. It's hard to make apples-to-apples comparisons, because the systems take the same technology and apply it in different packages using different proprietary networking protocols.
No "Fruit Salad" Systems
So, although this article may be fruit salad, your church's monitoring system can't be. Despite superficial appearances, this is nowhere near line-level analog audio: you can't take a user station from one manufacturer and plug it into a distribution interface from another and expect it to work-even though both units use the same cables and connectors. In other words, you'll be married to one system for years to come. Make sure it will be compatible with your needs. Carefully considering the following points:
Audio channel capacity
How many channels can be put on the network? How many are accessible by each personal mixer at one time?
Input formats What type(s) of digital and/or analog signals go into the system?
User interface
What can you do with dedicated knobs and switches? What requires accessing menus? Can non-technical musicians manage it?
Programmability and presets
What features can be preset for instant recall? How do you program and access your presets?
Analog outputs
Can you easily connect what you need to connect, including wired IEM (in-ear monitor) earbuds, wireless IEM transmitters, headphones and stage wedges? Also, check specs for noise and distortion.
ReliabilityDoes the system have a solid track record, or is it fresh and yet unproven?
CostYou get what you pay for, and with most of these systems you get a lot.
With those criteria in mind, let's take a quick tour of offerings.
Aviom comes first both alphabetically and chronologically, having pioneered this market well ahead of the pack. The Aviom system accepts up to 16 channels (direct out, group, matrix, etc.) from the console from line-level analog or, if a Yamaha digital console, from an optional 16/o-Y1 card. Alternatively, mic/line inputs can go straight into AN-16I/M unit with built-in split out to FOH mix. All channels then hop on the A-Net bus to an Aviom hub for distribution via eight ports to the mixing stations.
Two basic versions are offered: the A-16II, primarily for use with wired IEMs, headphones or powered wedges; and the A-16 R rack unit, ideal for placement in remote racks for connection with wireless IEMs and control via the A-16CS remote control surface. All versions of the A-16 provide facilities for tailoring level, pan and three-band EQ, assigning groups, soloing channels, and saving mixes as presets. The A-16II has a single ¼-inch stereo output while the A-16R adds balanced outputs (XLR and TRS), a stereo balanced insert, and aux stereo mix input with volume control. The number of mixers is expandable by daisy-chaining or by adding distribution hubs. In terms of components offered and configuration options, Aviom obviously offers a mature and sophisticated system.
Hear Technologies' Hear Back system, in contrast, is relatively straightforward. Eight audio channels connect to the input/hub unit, either as balanced analog via a DB-25 connector or via an ADAT lightpipe optical input. If the inputs are onstage, the hub connects directly to eight mixers; if it's at FOH, it connects to a second hub unit via the HearBus on Cat-5e cable. The compact mixer units use rotary controls for mixing eight channels: one stereo pair plus six individual channels which may be linked as stereo pairs by a link button.
Two other knobs control master output and the built-in DSP limiter threshold. A stereo aux input jack is handy for connecting drum modules or metronomes. Outputs are two parallel stereo headphones plus balanced TRS stereo to drive wireless transmitters or self-powered stage wedges. The system can be expanded up to 256 mixers with additional hubs.
Movek MyMix system narrowly qualifies for this category. It was initially designed and marketed as a silent rehearsal and recording system. Each musician connects directly to the mic and instrument inputs (rear-panel combo XLR/1/4-inch) in the MyMix unit; all inputs are then shared across the network via Cat-5e cables, enabling each player to capture his or her own mix on a built-in 24-bit/48-kHz recorder. MyMix edged into the monitoring category only with the announcement of the IEX-16L 16-channel input expander, which takes 16 line-level analog signals-presumably from a console-and places them on the network. Unlike some other systems, MyMix uses standard, off-the-shelf Gigabit Ethernet switches to form networks. The MyMix mixer units are very much software-driven interfaces, with four soft keys adjacent to the color LCD screen, dedicated record and mute buttons, and a parameter control knob. Mixing capabilities include channel EQ, pan, and level, plus a master four-band output EQ. Outputs are headphone and rear-panel ¼-inch for feeding stage wedges.
ProCo offers yet another slant on the technology with its Momentum digital snake system. Similar to other systems, the Momentum accepts analog audio inputs-in this case, in blocks of eight-on mi8 input modules for transmission via Gigabit Ethernet. At the other end, a mo8me digital mix engine enables users to mix up to 32 networked inputs into eight balanced XLR outputs, either as eight mono or four stereo signals. DSP mixing features include three-band input EQ and high-pass filter, plus three-band EQ and panning on all outputs. In its stock configuration, the Momentum system is best suited to use with wireless IEM units, as all outputs are housed on a single 19-inch rack unit. Use with wired headphones or IEMs requires third-party headphone amplifiers.
All functions are controllable by the mrc "tweak" wireless (via WiFi) remote control surface. Very much in tune with the times, ProCo recently announced a new control application for mo8me (available through the Apple App Store) that leverages the existing WiFi capability to place functions of the mrc on an iPhone or iPod Touch.
Roland RSS M-48 Live Personal Mixer is a power-packed, sophisticated setup for those who want the flexibility of access to a lot of channels (40) for mixing into a lot of stereo groups (16). To make this happen in limited space, the M-48 uses eight mix knobs in two layers. Control features include volume, pan, three-band EQ and built-in reverb. Also included are protective limiting, aux input, dual headphone outputs (1/4-inch and 1/8-inch), balanced 1/4-inch line outs, and an on-board ambient mic so you remember where you really are. Until recently, audio was available only via analog input into Roland's own REAC snake system; recently, however, the company has introduced the S-MADI REAC bridge, which allows connection to digital consoles with industry-standard MADI digital outputs.
Fruit...and Veggies, Too
Corvalus Systems Rounding out our survey is the unquestionably unique SamePage Mix system from Corvalus Systems. True, it's built around the same basics, with options offered for 16 or 32 inputs on analog, AES digital or ADAT light pipe. Up to 16 channels may be selected and mixed at any user station-but here's where it takes a new turn. Rather than using a custom-built hardware module, the mixer is completely software driven. Everything resides on a 19-inch touch-screen with a built-in computer (1.6 GHz dual core processor). Output is one 1/8-inch headphone jack, so external devices may be needed to drive stage wedges. And use with wireless IEMs is unlikely because, after all, your mixer is fully integrated into your complete SamePage sheet music and worship-leading program.
Now we're way beyond comparing apples to oranges; we're throwing in a big helping of vegetables.
Paying for It All
As for cost, figure on anywhere from $4,000 to $6,000 for a full-featured system with six mixing stations and access to 16 or more channels. The Hear Back system, with its more basic architecture and limited channel count, should come in at around $2,000 for six stations. Note that the MyMix system, at around $500 per station, is on the pricey side for monitoring applications only because-assuming use of the console input unit-you are paying for redundant mic and instrument inputs plus six separate recording facilities.
Yes, some arm-twisting of the finance folks may be needed. But remind them that the quality of music heard by the congregation hinges on how well the musicians can hear each other-and themselves. Networked personal monitor mixers could spell the difference between celestial
clarity and a murky muddle.
