Technical Spec - What's it got?
The 6416m provides 16 mic inputs, a mini channel strip per input featuring a switchable pad, continuously variable gain in 1dB increments, phase, low cut and +48V phantom power. It also features mute and channel activation switches and a six-segment level meter per channel.  

If 16 XLR inputs are not enough for you, alternate inputs can be accessed through the DB25 connectors on the back, which also serve as passive splits.  

The 6416m has 24-bit A/D converters and runs on sample rates from 44.1kHz up to 192kHz. Related products, depending on how you want to use it, include the 6416o analog output module, 6416dio digital I/O module and a 6416Y2 A-net interface card.  

As the 6416m is a remote-controlled mic pre-amp, Aviom provided the remote control interface (RCI) and a very neat mic control surface (MCS). These can be used to control up to 64 channels of 6416m inputs and as they allow you to select any audio source within your network, they also double up as a straightforward headphone monitor station. They can be hot-swapped without affecting your network’s behaviour.

All the components connect via A-net, Aviom’s proprietary audio distribution and networking technology, designed to stream data-intensive audio, reduce latency, allow longer cable runs and improve clock performance. It is based on Ethernet and uses reassuringly familiar Cat-5e cables and RJ-45 connectors.  

Setting the scene
A live recording for a DVD promoting baroque ensemble The Frolick was the perfect test drive of the 6416m. I racked up Aviom’s seven units of gear, gathered some microphones and a laptop loaded with Pro Tools and headed off.

The recording was done in a Grade 1 listed 17th century house with high-ceilinged rooms densely populated with the statuary glitterball the size of Saturn, a rotating marble table, a seven-piece baroque ensemble and a stuffed adult giraffe.

How did the Aviom perform?
Set-up on the day was simple, but only because I had spent an entire afternoon wading through manuals and hot-plugging the A-net cables until I had it working. Once you get your head around the fact that you are in essence working with Ethernet protocol interconnectivity, rather than physical audio ins and outs, it all makes sense.

I saved my prep work to a preset on the 6416m and on arrival my unit powered up with all the phantom power, phase reversals, high-passes and gain settings in place and after minor tweaks I was ready.

Baroque period meant no visible mics, so my main stereo pair of Brauner VM1s had to be quite far back to stay out of shot. The 6416m definitely gave me enough gain and headroom to pick up a range of delicate, un-amplified instruments. I added spot mics, DPA 4061s, which I had to stick to the backs of a couple of statues.

The 6416m was definitely up to the assignment. It’s the main component of an extremely flexible audio networking system, with a very clean signal, loads of headroom and all the functions you expect to find on a mic preamp. This big blue box is a reliable work-horse – a full-blown remote-controllable mic preamp that will hold its own in any recording situation – on location, in the studio, theatre, outside broadcast or in a live environment – with or without stuffed giraffes.  
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