PRESONUS StudioLive 24R, StudioLive 32, StudioLive 16 Networking Manual

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StudioLive™ Series III

AVB Networking Guide

www.presonus.com

English

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Table of Contents

1 Overview — 1

1.1 An Introduction to Audio Networking — 2

1.2 Distributed Audio — 2

1.3 Network Foundations — 3

1.4 Addressing — 3

2 AVB Networking — 4

2.1 System Overview — 4

2.2 What is AVB? — 5

2.3 How Does AVB Work? — 6

2.4 AVB Hardware Components — 6

2.5 Overcoming Latency — 7

2.6 Channels and Streams — 7

2.7 Clocking — 8

2.7.1 Wordclock — 8

2.7.2 Precision Time Protocol (PTP) — 9

2.7.3 Multiple Stream Reservation Protocol

(MSRP) — 9

2.7.4 Clocking a PreSonus AVB Network — 11

3 AVB Networking Basics — 13

3.1 Selecting the Right Switch — 13

3.1.1 PreSonus SW5E AVB Switch

with PoE — 13

3.2 Adding a Wireless Router — 15

3.3 Choosing the Right Cables — 16

3.3.1 Cat5e and Cat6 — 16

3.3.2 Shielded vs. Unshielded — 17

3.3.3 Solid-core vs. Stranded — 18

3.3.4 Plug Termination — 19

3.3.5 T568A or T568B — 19

3.3.6 Twisted Pair Tips — 19

3.4 Understanding Hops — 20

3.5 Network Topologies — 21

3.5.1 Point-to-Point (P2P) — 21

3.5.2 Daisy-Chain — 22

3.5.3 Star — 23

4 Conﬁguring Your AVB Network — 24

4.1 Using AVB with a StudioLive Series III Mixer and a

Mac — 24

4.1.1 What You Will Need — 24

4.1.2 Making the Connections — 24

4.1.3 Setting Up Your Mac — 25

4.2 NSB-series Stage Box with a StudioLive Series III

Console Mixer — 26

4.2.1 Step 1: Connect Your Stage Box

to Your Mixer — 26

4.2.2. Step 2: Routing Stage Box Inputs

to Mixer — 28

4.2.3 Step 3: Engage Network Sources — 28

4.3 NSB-series Stage Box UC Surface Setup — 29

4.3.1 Step 1: Connect Your Stage Box

to Your Mixer — 29

4.3.2 Step 2: Routing Stage Box Inputs

to Your Mixer — 30

4.3.3 Step 3: Engage Network Sources — 30

4.4 EarMix 16M with StudioLive

Console Mixers — 31

4.5 EarMix 16M Setup from UC Surface — 32

5 Large Network: Real-world Example — 34

5.1 Example Network Overview — 34

5.2 Network Connections — 37

5.2.1 Connecting Your Mixers — 39

5.2.2 Connect Your NSB-series Stage Boxes

to Your Console Mixers — 41

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5.3 Analog Input Connections — 44

5.3.1 Routing AVB Sends

to Your Console Mixers — 46

5.3.2 Routing the NSB-series Inputs

to Your StudioLive 24R — 48

5.3.3 Routing Audio to the

Console Mixers — 49

5.4 Analog Output Connections — 51

5.4.1 Routing the Main Outputs — 51

5.4.2 Routing Monitor Mixes — 52

5.5 EarMix Setup — 53

5.5.1 Routing AVB Streams to Your

EarMix 16M — 53

5.5.2 Routing StudioLive 24R Sources

to AVB Sends — 54

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1 Overview

StudioLive™ Series III

AVB Networking Guide

1 Overview

Most people who have used a digital mixer in the last ten years are familiar with incorporating networking technology into their audio application. Remote control over wireless LAN networks, proprietary audio-over-Ethernet protocols, and extensible audio networking platforms have all become relatively commonplace. As networking speed and reliability have increased and the underlying technology has become more aﬀordable, transporting audio over an Ethernet cable can now oﬀer dramatic savings of both time and money, making it more attractive than ever.

While there are several protocols currently in use for audio networking, AVB has many unique beneﬁts that have made it the protocol of choice for the latest generation of PreSonus pro audio equipment. This guide explains the basics of AVB networking as well as best practices and use cases. While this guide covers AVB networking in detail for supported PreSonus products, much of the information here is relevant for other IEEE 1722.1-compliant AVB devices. PreSonus StudioLive Series III mixers are fully compliant with the IEEE

1722.1 standard, which is the protocol for Discovery, Enumeration, Connection management, and Control of AVB devices, also known as AVDECC.

Note: Earlier generations of PreSonus AVB products (StudioLive RM-AI and RML-AI mixers, StudioLive CS18AI, and AI-series consoles equipped with the SL-AVB-MIX option card) are not 1722.1 AVDECC compliant and can only be used with each other. These products are not compatible with IEEE 1722.1 devices like the StudioLive Series III mixers or other third-party AVB products that follow the 1722.1 AVDECC standard.

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1 Overview

1.1 An Introduction to Audio Networking

StudioLive™ Series III

AVB Networking Guide

1.1 An Introduction to Audio Networking

As its name implies, audio networking allows you to transport large amounts of data over a single cable. The bandwidth for modern networking transport protocols is enough to carry hundreds of audio channels without the compression once necessary to do so. This means that audio can be moved quickly over long distances without signal degradation or the expense of conventional analog cabling.

The ﬂexibility demanded by data network protocols also opens up possibilities for audio system conﬁguration that were once impossible. Many nodes of I/O can be placed throughout a facility or venue without the limitations imposed by analog cabling. Because networked audio is digital, electromagnetic interference and cable capacitance that can degrade audio signal quality in the analog domain are no longer problematic.

Because many modern digital audio devices also oﬀer remote control over LAN networks, this also reduces the amount of cabling. In an audio network, control data and audio can travel over the same connection, facilitating ﬂexible routing, preamp control, and more using a single cable.

1.2 Distributed Audio

In a traditional analog system, remote analog I/O must be located within a relatively short distance between the source and the destination. Let’s take a common example: the multichannel snake. In a live setting, the stage box to which the musicians are connecting their gear is located with them on stage. This shortens the cable runs coming from multiple locations (e.g., the lead singer’s mic, the guitarist’s amp, etc.). These cables are connected to a stage box which is attached to a shielded multichannel snake that makes the long run to the mixer at Front-of-House.

In a distributed audio network, each musician could have their own node on the network, potentially. Multiple networked stage boxes can be spread around the stage, making the analog cable runs as short as possible to minimize signal degradation. Take this concept a step further, and multiple sources can be spread throughout a large facility, each sitting on the network to be sent to many mixers on the network, not just the one at front-of-house.

This ﬂexibility makes distributed audio networking an appealing concept for both mobile and installed applications, not only because of the aﬀordability of Ethernet cabling, but because of the ability to customize each system for the people using it.

On the surface, this level of ﬂexibility lends itself to a deeper complexity than a standard analog system. However, when one considers the function of an analog patch bay within a studio setting, audio networking can seem a bit less daunting.

An analog patchbay’s purpose is to facilitate the routing of audio. In this way, you can insert your favorite boutique compressor into any channel on your console without rewiring your entire rack. This also lets you route audio from the wall panel in your live room to any preamp you wish to use, audition multiple eﬀects chains, and much more.

The only diﬀerence between an analog patchbay and the digital patching available in a distributed audio network is that you must physically trace a cable connection if you are unsure of a particularly complex routing in an analog system. In a distributed audio network, the control panel for all your digital routing allows you to do the same thing from a single screen.

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1 Overview

1.3 Network Foundations

StudioLive™ Series III

AVB Networking Guide

1.3 Network Foundations

No matter what protocol is used, an Ethernet-based audio network will consist of the following:

• Network Interface Controller (NIC). These are built into a computer, digital mixer, networked stage box, etc. and, as their name implies, allows these devices to communicate with other devices on a digital network.

• Ethernet Cables. Both data and audio networks rely on a set of standards for cabling infrastructure to ensure that network performance is both reliable and consistent. These standards include speciﬁcations for the cable construction itself, as well as speciﬁcations for the termination of cabling and physical connections to devices. More information on cabling can be found in Section 4.4.

• Switches. These devices bring all the cables together into a central hub and enable the correct routing of information throughout the network.

1.4 Addressing

Every Network Interface Controller (NIC) on the network must have an address so that the switches know where to send the data packets appropriately. Every NIC must have a Media Access Control (MAC) address programmed by the manufacturer. Every MAC address is unique, and the allocation of MAC addresses to networking manufacturers is strictly managed by the IEEE standards organization.

In addition to a device’s MAC address, every NIC has a user-deﬁnable addressing layer to make it easier for network managers to conﬁgure their local network. Called the Internet Protocol or ‘IP’ address, this is normally 4 bytes long (IPv4) consisting of the network number and a host address. The division between the two is also 4 bytes long and called the subnet mask.

Every bit in the IP address that has the number 1 in the subnet mask belongs to the same network number. Every bit that has the number 0 belongs to the host address. Where things get tricky is that only NICs with the same network number can exchange data with one another.

If you’ve ever glanced at the network settings on your personal computer, some of this may seem familiar to you. The operating system on your computer displays the IP and subnet values as four decimal number (0-255). These numbers correspond to the four bytes in the IP address and subnet mask. If we use the example of a small oﬃce network, the subnet mask usually has a default value of 255.255.255.0. This provides the network administrator with 255 host addresses to use because only the last byte can be changed when it is assigned to devices on the network (255.255.255.1, 255.255.255.13, etc.). For networks that require more than 255 host addresses, the subnet mask can be changed to accommodate more devices.

The IP addresses can be programmed manually for systems that require it, but in many cases, a central device, such as a router, will automatically assign an IP address whenever a NIC is connected or reconnected. This automatic IP assignment is accomplished using the Dynamic Host Conﬁguration Protocol (DHCP).

StudioLive mixers support DHCP, self-assigned IP addressing, as well as manually assigned adressing. This provides network administrators with the most ﬂexibility when designing a system that includes StudioLive mixers. For

more information, please review the StudioLive Series III Owners Manual.

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2 AVB Networking

2.1 System Overview

StudioLive™ Series III

AVB Networking Guide

2 AVB Networking

2.1 System Overview

AVB networks behave very much like an analog audio system. Like an analog audio system, audio networks consist of sources, destinations, and intermediate processing along the way.

Let’s look at a simple live-sound setup:

mic

stagebox

mixer

active sub

active

loudspeaker

In the above example, an audio signal goes out of the microphone and into the stage box. It then goes to the mixer, where the microphone signal is ampliﬁed, routed to the appropriate output, and sent to an active subwoofer, where it is ﬁnally passed through to the full-range loudspeaker. All of this is readily apparent to any audio engineer just by looking at the diagram—a good thing because the skills required to conﬁgure an analog system are nearly identical those needed by a network engineer.

Let’s compare the audio system above with components in a network:

mic

mixer

Stage Box

AVB Switch

Input, Processing,

& Output

Input & Output

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE Oﬀ

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

In our network example, the microphones connected to the mixer and stagebox can be freely available on either or both, depending on the routing.

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2 AVB Networking

2.2 What is AVB?

StudioLive™ Series III

AVB Networking Guide

Let’s take a quick look at a microphone signal’s signal ﬂow on a simple AVB network.

In the example below, the microphone’s signal is represented by the blue line:

mic

Mixer

Monitoring

Stage Box

AVB Switch

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE Oﬀ

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

Network

As you can see, tracing a device’s signal path becomes a little more complex because the routing is handled entirely in the digital domain. But because experienced audio engineers understand signal ﬂow and are used to troubleshooting problems in an analog system at the various points of weakness, conﬁguring an audio network becomes that much easier.

2.2 What is AVB?

AVB (Audio Video Bridging) is an extension to the Ethernet standard designed to provide guaranteed quality of service, which simply means that audio samples will reach their destinations on time. AVB allows you to create a single network for audio, video, and other data like control information, using an AVB-compatible switch. This enables you to mix normal network data and audio network data on the same network, making it easier to create both simple and complex networks. Numerous audio companies have adopted it, and more companies are adding it all the time.

Audio-over-Ethernet has become increasingly attractive in Pro Audio applications especially for distribution in large-scale systems, such as those used in sporting venues, concert halls, and education institutions. The problem is that most solutions are proprietary, making these systems too expensive and too complex for most smaller applications. AVB is intended to change that by providing an open source collection of IEEE standards available for use by the pro audio market and its manufacturing community.

AVB networking oﬀers several features that make it ideal for audio applications:

• Long, light cable runs. A single lightweight CAT5e or CAT6 cable can be run up to 100 meters (328 feet). This makes it easy to have audio I/O located in diﬀerent rooms (or even diﬀerent venues in the same building) and run multichannel audio between them in real time.

• Low, predictable latency. AVB provides latency of no longer than 2 ms sending an audio stream point-to-point over up to seven “hops” (trips through switches or other devices) on a 100 Mbps network. With higher speed networks, many AVB devices support lower latencies and additional hops.

Please note that while PreSonus AVB products operate at faster Gigabit network speeds, they are currently ﬁxed to 2 ms of latency.

• Scalable, with high channel counts. AVB’s bandwidth is suﬃcient to carry hundreds of real-time channels using a single Ethernet cable. This oﬀers the future possibility of expanding your system with additional devices that contain diﬀerent kinds of audio I/O, multiple controllers, and other useful functions.

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2 AVB Networking

2.3 How Does AVB Work?

StudioLive™ Series III

AVB Networking Guide

• Guaranteed bandwidth. AVB networks intelligently manage the data traﬃc giving priority to AVB data. This means standard network traﬃc, such as Internet streaming, won’t prevent your audio from being delivered reliably and on time.

• Integrated clock signal. In a digital audio system with multiple devices, having a master clock is critical to maintaining audio ﬁdelity. The AVB speciﬁcation deﬁnes such a clock to be accurately distributed to all devices in the system.

2.3 How Does AVB Work?

On the simplest level, AVB works by reserving a portion of the available Ethernet bandwidth for its own traﬃc. Because packets of AVB data are sent regularly in allocated slots within the reserved bandwidth, there are no interruptions or interference, making AVB extremely reliable.

What makes AVB ideal for audio networking is that it splits network traﬃc into real-time traﬃc and everything else. All real-time traﬃc is transmitted on an 8 kHz pulse. Anything that’s not real-time traﬃc is then transmitted around that pulse. Every 125 µs, all real-time streams send their data. Other packets are transmitted when there is no more real-time data ready to be transmitted. To make sure that there is enough bandwidth available for all prioritized realtime traﬃc, the Stream Reservation Protocol (SRP, IEEE 802.1Qat) is used.

Every AVB compliant switch between each talker and listener will then make sure suﬃcient bandwidth is available using SRP, making it a foundational building block of the AVB standard. Every switch and AVB device on the network must implement SRP and send real-time traﬃc at the 8 kHz pulse. If one of the devices on the network does not employ this standard, then realtime traﬃc could be potentially delayed, causing jitter in the output.

2.4 AVB Hardware Components

In an AVB network, every device to and from which audio is ﬂowing must adhere to the AVB standard. These devices consist of the following types:

• AVB Talkers. These devices act as the source for an AVB stream, sending out audio onto the network.

• AVB Listeners. These devices are the destinations for the streams sent out by the Talkers.

• AVB Switches. This is the network hub to which every Talker and Listener must be connected. At its most basic level, an AVB Switch analyzes and prioritizes traﬃc on the network. It should be noted that just like there can be multiple talkers and listeners on the same AVB network, there can also be multiple AVB Switches.

• AVB Controllers. A controller can be a talker, a listener, or neither. These devices handle routing, clock, and other settings for AVB devices using AVDECC.

The most important rule to keep in mind when setting up an AVB network is that the talker (device sending audio) and listener (device receiving audio) must be connected to an AVB-compatible switch. All the AVB devices on the network must share a virtual clock that deﬁnes when the AVB packet should be played.

As previously mentioned, devices communicate on an AVB network as “talkers” and “listeners.” An AVB talker transmits one or more audio streams to the network. AVB listeners receive one or more of these streams from the network. It should be noted that an AVB device, like the StudioLive Series III mixers and NSB-series stage boxes, can be both a talker and a listener. For example, StudioLive 32 can simultaneously “Talk” (send channels out to the network) and “Listen” (receive channels from the network).

AVB devices stay in sync by selecting the best master PTP clock after the devices connect with one another. This ensures that every AVB device on the network will maintain precise timing, which is critical to audio quality.

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2 AVB Networking

2.5 Overcoming Latency

StudioLive™ Series III

AVB Networking Guide

The AVB switch guarantees that real-time audio data packets maintain their timing without losing information. AVB switches do this by allowing a maximum of 75% of each port to be used for AVB traﬃc. This prevents non-AVB data from being delayed or lost.

When an AVB network is conﬁgured, the Talkers and Listeners identify one another automatically.

2.5 Overcoming Latency

SRP works with the 802.1Qav Queuing and Forwarding Protocol (Qav) to ensure that once bandwidth is reserved for an AVB stream, it is locked down from end to end. Qav schedule time-sensitive streaming information to minimize latency. Together, SRP and Qav make sure that all reserved media streams are delivered on time.

In this way, the AVB network has some intelligence as to how much non-media traﬃc as well as how many media packets are on the system at any given time. This means that on an AVB network, the worst case travel time is known throughout the entire system. Because of this, only a small amount of buﬀering is needed, lowering latency to 2 ms over seven switch hops on a 100 Mbps Ethernet network. On gigabit networks, even lower latencies can be achieved.

2.6 Channels and Streams

AVB Streams can be thought of as the pipeline that carries a predeﬁned number of channels between two or more AVB devices. In a PreSonus StudioLive Series III mixer, for example, there are seven input streams and seven output streams available, each carrying eight channels.

It should be noted that each stream can carry any combination of eight channels. The source for the eight channels within each AVB Send stream can be freely routed from any input channel or bus on a StudioLive Series III mixer via the Digital Patching menu. For complete information on Digital Patching, please refer to the StudioLive Series III Owners Manual and UC Surface Reference Manual.

In addition to audio channels, each stream can carry clocking information from the network’s global clock. Like all digital systems, devices on an AVB network must receive media clock from a master source to maintain proper sync.

Channel 1 Channel 2 Channel 3 Channel 4 Channel 5 Channel 6 Channel 7 Channel 8

AVB STREAM

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2 AVB Networking

2.7 Clocking

StudioLive™ Series III

AVB Networking Guide

2.7 Clocking

All the audio traﬃc on an AVB network is synchronized using a global clock so that audio can be played and recorded while remaining in time from multiple sources. Obviously, the more audio traﬃc on a network, the more critical this becomes. For users familiar with traditional digital audio devices (ADAT, S/PDIF, etc.) the idea of a global clocking device will not seem unfamiliar. PreSonus AVB devices have two clocks: one wordclock and one PTP clock.

All AVB devices on the network are synchronized to a common reference time using the IEEE 802.1AS Precision Time Protocol (PTP). Each stream includes a presentation time that all the devices in the network use to align their playback by comparing the presentation time in each stream packet. An advantage to this design is that AVB networking supports multiple simultaneous sample rates and sample clock sources which is important for applications where audio and video need to be synchronized, even though they travel along diﬀerent paths with diﬀerent sample rates.

2.7.1 Wordclock

Analog audio is transferred through a cable as a continuous electrical waveform at almost the speed of light. Because of this, audio signal traveling from one analog audio device to another arrives nearly instantaneously, for all practical purposes. Therefore, you don’t have to synchronize analog audio passing from one analog device to other analog devices.

Transferring digital audio is a very diﬀerent matter. Computers and other digital devices operate one step at a time, which happens very quickly but it’s not instantaneous, and digital signals are not inherently in perfect time. While uncompressed digital audio plays at a ﬁxed rate (i.e., the sampling frequency), digital clocks are not perfect; their frequency can drift, and they almost always have at least some irregular errors, known as jitter. Therefore, two devices, each following its own clock, are highly unlikely to stay in agreement about precisely when a sample starts and ends. The result is usually an artifact, like a pop or a glitch in the audio.

To avoid this problem, all digital devices in communication with one another need to follow a single master clock. That means the master clock must send a signal that essentially says, “everyone start at this moment and follow me!”

Even if the master clock’s timing is imperfect, all the slave devices will follow the timing errors exactly and will stay in sync with each other, eliminating timing-related artifacts. In general, the better the master clock, the better the resulting audio will sound, so whenever possible, use the best clock you have, or experiment with your rig to ﬁnd the best result.

Whenever digital audio devices are synchronized, it is necessary to designate one device as the “master” wordclock device to which all other digital devices are synced, or “slaved.” Once you’ve determined which device is to be your master clock, you will need to sync the remaining digital devices.

The problem of designating a master wordclock is not handled by AVB and must be set with an AVB controller. Depending on the device, this can be done manually, by the user, or managed automatically. For example, when setting up a StudioLive rack mixer as a stage box from a StudioLive console mixer, the rack mixer is automatically setup to slave from the console mixer’s media clock.

Multiple unrelated wordclocks can co-exist on an AVB network. While there are a few ways to match wordclocks between a talker and listener, PreSonus AVB devices currently only support recovering the media clock by listening to the ﬁrst AVB stream.

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2 AVB Networking

2.7 Clocking

StudioLive™ Series III

AVB Networking Guide

2.7.2 Precision Time Protocol (PTP)

Precision Time Protocol or PTP is used to synchronize clocks throughout a computer network. PTP is capable of achieving clock accuracy in the submicrosecond range, making it suitable for local area networks that require tight timing. Similar to wordclock, PTP uses a master-slave architecture for clock distribution. This protocol deﬁnes clock master, link delay and network queuing (both measurement and compensation), as well as clock-rate matching and adjustments for Layer 2 network devices.

In this architecture, there are several diﬀerent clock types:

• Ordinary Clock. This is a device with a single network connection and either the sync source (master) or the sync destination (slave).

• Boundary Clock. This device has multiple network connections and can accurately synchronize one network segment to another. A master clock is selected for each segment in the system using a root timing reference generated by the grandmaster clock. The grandmaster sends synchronization information to the all the clocks on its network segment. The boundary clocks on that segment then send accurate time to other network segments to which they’re connected. Every AVB Talker is required to be capable of functioning as the grandmaster; however any network node can be the grandmaster, as long as it can either source or derive timing from a grandmaster-capable device.

On an AVB network, PTP generates timestamps so that every listener knows when to playback the audio from the talker. In other words, the PTP clock is used to align audio samples from multiple sources in time. Each grandmastercapable device broadcasts its clocking using announce messages. The best master clock is then selected from the available announce messages.

2.7.3 Multiple Stream Reservation Protocol (MSRP)

Multiple Stream Reservation Protocol (MSRP) is the IEEE standard used to reserve stream bandwidth for audio on an AVB network. This allows endpoints to automatically route data and reserve bandwidth and eliminates the need for the user to manually conﬁgure Quality of Service (QoS) across network devices. MSRP looks at the end-to-end bandwidth that is currently available before an audio stream is sent out. It then reserves a maximum of 75% of the total bandwidth available on that AVB switch’s port. If the bandwidth is available, it is locked down along the entire data path, from the Talker, out to every assigned Listener until it is released.

Bandwidth reservations are made based on talker and listener declarations on the switch ports. Talker declarations come in several forms:

• Advertise Declaration. This declaration announces that a stream doesn’t have any bandwidth or network constraints on its designated path. This means that any destined Listener can create a reservation for QoS. Talkers advertise messages contain all the information necessary to make the reservation.

• Failed Declaration. As its name indicates, this announces that a stream is not available to a Listener because the necessary bandwidth is not available or because of other limitations somewhere in the network path between the Talker and the destined Listener.

As mentioned earlier, Listeners also make declarations within an AVB network. These consist of the following types:

• Ready. One or more Listeners are requesting a stream and suﬃcient bandwidth and resources are available from the Talker along the network path to every intended Listener.

• Ready Fail. In this instance, one or more Listeners are requesting a stream, but not all of them have suﬃcient bandwidth and resources on the path to the Talker. In other words, at least one Listener has encountered an obstacle and at least one Listener has not.

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2 AVB Networking

2.7 Clocking

StudioLive™ Series III

AVB Networking Guide

• Fail. When a Fail declaration is sent, one or more Listener has requested a stream and every Listener that has done so does not have suﬃcient bandwidth or resources in the network path to attach to the desired stream.

End-to-end stream reservation is successful as soon as the Listener receives the Talker’s Advertise Declaration and the Talker receives the Listener’s Ready Declaration.

AVB stream reservation process:

AVB streams are only forwarded once a successful reservation is made. After the streams stop, switch resources are then released and the process can begin again or make room for other network traﬃc. In this way, the AVB standard ensures that audio data streams always have the highest QoS and all other data is secondary or tertiary.

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

AVB Switch

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

AVB Switch

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

MANUFACTURING DATE

DESIGNED AND ENGINEERED IN BATON ROUGE, LA, USA • MANUFACTURED IN CHINA • PATENTS PENDING • “STUDIOLIVE”

and “PreSonus” ARE REGISTERED TRADEMARSK OF PRESONUS AUDIO ELECTRONICS • SD LOGO IS A TRADEMARK OF SD-3C, LLC

MANUFACTURING DATE

DESIGNED AND ENGINEERED IN BATON ROUGE, LA, USA • MANUFACTURED IN CHINA • PATENTS PENDING • “STUDIOLIVE”

and “PreSonus” ARE REGISTERED TRADEMARSK OF PRESONUS AUDIO ELECTRONICS • SD LOGO IS A TRADEMARK OF SD-3C, LLC

AVB Switch

Talker

Advertises

Talker Ready

Talker

Sends Stream

Ready!

Listener

Receives

Listener

Ready

Listener

Receives

Stream

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2 AVB Networking

2.7 Clocking

StudioLive™ Series III

AVB Networking Guide

2.7.4 Clocking a PreSonus AVB Network

Within the PreSonus AVB ecosystem, a StudioLive Series III mixer must be used the master word clock for the network. For some devices, clocking is handled automatically. For others, additional set-up is required. This section will provide an overview of the steps required for proper system clocking.

EarMix 16M Personal Monitor Mixers

Because the EarMix 16M is a listener only, it defaults to clocking from the incoming audio streams.As soon as you route an AVB Send to your EarMix 16M, it will sync to the master mixer.

NSB-Series Stage Boxes

NSB-Series stage boxes are designed to provide both remote inputs and remote outputs for StudioLive Series III mixers. Like the EarMix 16M, the NSB-series stage boxes will default to external clock and sync to a StudioLive Series III mixer as soon as AVB sends are routed to their outputs.

It is important to note that these AVB sends must be routed whether they are needed or not. Let’s look at the common example of a StudioLive 16 console mixer with two NSB 8.8 stage boxes. In some situations, the eight outputs on the second NSB

8.8 stage box may not be needed to pass audio. In this case, routing an AVB output stream from the mixer to the stage box would still be required for proper clocking.

StudioLive Series III Mixers (Monitor Mixer Mode)

StudioLive Series III mixers provide a customized mode when used as Monitor mixer. This mode allows them to retain independent control over their FlexMix outputs while sharing input streams as well as the Main Mix with the Front-of-House mixer. As soon as Monitor Mixer Mode is engaged on a StudioLive Series III rack mixer, its clock is set to sync to the Front-of-House console as well. No further set-up is required.

StudioLive Series III Rack Mixers (Stagebox Mode)

StudioLive Series III rack mixers also provide a customized mode to function as a stage box for other StudioLive mixers. This mode allows them to share all their inputs and outputs with the Front-of-House mixer, eﬀectively disabling all DSP functionality. As soon as Stagebox Mode is engaged on a StudioLive Series III rack mixer, its clock is set to sync to the Front-of-House console as well. No further set-up is required.

FX C FX D

FX A FX B

EarMix Setup

Name: EarMix 16M

Apply

Apply All

1-8 Send Source: AVB Send 41-48

9-16 Send Source: AVB Send 49-56

EarMix 16M

AVB Send 9-16

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

StudioLive 16: Send 41-48

StudioLive 16: Send 33-40

StudioLive 16: Send 49-56

StudioLive 16: Send 41-48

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: StudioLive 24

Name: StudioLive 24R

Mode: Monitor Mixer

Apply

StudioLive 24R

NSB 8.8

Monitor Mixer

Stand-alone

Stagebox

Monitor Mixer

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: StudioLive 24

Name: StudioLive 24R

Mode: Monitor Mixer

Apply

StudioLive 24R

NSB 8.8

Monitor Mixer

Stand-alone

Stagebox

Page 15

2 AVB Networking

2.7 Clocking

StudioLive™ Series III

AVB Networking Guide

StudioLive Series III Mixers (Standalone Mode)

In applications where two or more mixers are on a network, functioning independently, but conﬁgured to send and received streams to and from other AVB nodes on the network, you must designate one mixer as the clock master.

To do this, simply set all other mixers to receive clock from the Network Stream and be sure a stream is routed to the ﬁrst AVB stream of each mixer from the master mixer. Be sure to leave one mixer on its Internal clock.

On a StudioLive Series III console mixer, conﬁguring external clocking can be done from the System Menu located on the Home Screen.

On all StudioLive Series III mixers (rack or console), conﬁguring external clocking can be done from the Device Settings Menu in UC Surface.

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: StudioLive 24

Name: StudioLive 24R

Mode: Monitor Mixer

Apply

StudioLive 24R

NSB 8.8

Monitor Mixer

Stand-alone

Stagebox

Stand-alone

Permissions User Button Assgins

FirmwareFat Ch Load/Paste

Link Aux Mutes Bluetooth Reg.

Sample Rate:

48 kHz

Network Stream

Off

Med HighLow

HighLow

Network Clock:

Show Peak Hold:

LED:

Backlight:

Network Stream

Internal

FX C FX D

FX A FX B

Network Stream

Page 16

3 AVB Networking Basics

3.1 Selecting the Right Switch

StudioLive™ Series III

AVB Networking Guide

3 AVB Networking Basics

When conﬁguring an AVB network, it is important to familiarize yourself with the fundamental components. This section has been designed to assist you in building your AVB network from the ground up.

3.1 Selecting the Right Switch

By deﬁnition, all AVB switches must adhere to every IEEE standard within the AVB protocol. Ordinary LAN switches (managed or unmanaged) used in everyday IT applications don’t have this same requirement and do not support the protocols necessary for AVB networking.

All AVB switches are required to support the following:

• IEEE 802.1Q: Stream Reservation Protocol (SRP) and Traﬃc Shaping (FQTSS)

• IEEE 802.1AS: Time Synchronization using Generalized Precision Time Protocol (gPTP) on each AVB enabled Ethernet port

These standards are critical for both reservation management and tight, synchronized clocking.

3.1.1 PreSonus SW5E AVB Switch with PoE

The PreSonus SW5E AVB Switch with PoE is a 5-port AVB switch that is fully compatible with all PreSonus AVB devices. In addition to adhering to the required IEEE standards, the SW5E provides Power over Ethernet (PoE) on four of its ﬁve ports.

Power over Ethernet or PoE is an IEEE standard that allows electric power to be provided over the same Ethernet cable used for data transfer, similar to how Phantom Power provides enough current over an XLR cable to power condenser microphones and active direct boxes.

The PreSonus EarMix 16M can be fully powered by PoE using a PreSonus SW5E switch or any other standard AVB switch that provides it. It should be noted that while the EarMix 16M can receive PoE, it does not pass that power through to other devices. So, in order to power multiple EarMix 16M, each mixer must have a direct path back to a PoE AVB Switch.

SW5E AVB Switch

Audio, Data, and Power

EarMix 16M Personal Monitor Mixers

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE Oﬀ

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

Page 17

3 AVB Networking Basics

3.1 Selecting the Right Switch

StudioLive™ Series III

AVB Networking Guide

In situations where this is not possible, an external power supply may be used to power each EarMix 16M. This also allows you to daisychain multiple units to a single port on your AVB switch.

SW5E AVB Switch

Audio, Data, and Power Audio and Data Audio and Data

EarMix 16M Personal Monitor Mixers

Page 18

3 AVB Networking Basics

3.2 Adding a Wireless Router

StudioLive™ Series III

AVB Networking Guide

3.2 Adding a Wireless Router

Many modern digital audio devices support some level of control over a Local Area Network. Unlike its AVB counterpart, a standard LAN network does not prioritize the traﬃc on it. While this is ﬁne for control information and other simple data, it is less than ideal for transmitting low-latency audio. PreSonus StudioLive Series III mixers support both AVB and LAN networking, each with its own dedicated Ethernet port.

For StudioLive Series III mixers, the Audio Network connection should attach to the AVB network, while the control port should be connected to a wireless router, or an access point, so that the mixer can be controlled remotely from UC Surface or QMix-UC. The control port should also be used to network your mixer to your computer while using DAW mode.

It should be noted that while a wireless router can be connected to an AVB switch, you would still need to connect both the Audio Network and the Control port to a network conﬁgured in this manner. Because of this, PreSonus recommends that you create two networks for your StudioLive mixer: one dedicated to control data and a second dedicated to AVB data.

MANUFACTURING DATE

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE Oﬀ

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

StudioLive 16

StudioLive 32R

SW5E AVB Switch

iPad running UC Surface

Page 19

3 AVB Networking Basics

3.3 Choosing the Right Cables

StudioLive™ Series III

AVB Networking Guide

3.3 Choosing the Right Cables

AVB networks rely on a set of standards for cabling infrastructure to ensure that network performance is both reliable and consistent. These standards include speciﬁcations for the cable construction itself, as well as speciﬁcations for the termination of cabling and physical connections to devices. Deviations from these speciﬁcations can result in reduced performance and even data loss, so it’s important to use the right cable for the job, and to use good quality cable that meets the necessary speciﬁcations.

Cabling that is out of spec can result in dropped packets and intermittent connections. For simple data networks, such as those used to stream video or transfer ﬁles, it could just mean increased buﬀer times or transfer times. For live, real-time audio, it can mean audible dropouts in audio or loss of audio altogether.

3.3.1 Cat5e and Cat6

While AVB itself doesn’t require gigabit Ethernet, PreSonus AVB product do require this speed because of the stream- and channel-counts involved. While this isn’t a function of the cables themselves (the devices and AVB switches handle gigabit Ethernet), it is still an important consideration to keep in mind when building your AVB network because you must select Ethernet cable that is capable of supporting Gigabit speeds.

Copper-wire Ethernet networks generally use twisted-pair cable. Twisted pair cabling is a type of wiring in which two conductors of a single circuit are twisted together to cancel out electromagnetic interference (EMI) from external sources, and reducing crosstalk between neighboring pairs.

AVB networks require the use of either CAT5e or CAT6 cables, both of which support Gigabit speeds at lengths up to 100 meters, as speciﬁed by the TIA/ EIA-568 standard. CAT6 is designed to support speeds up to 10 Gb/s (10GBASE-T or 10 Gigabit Ethernet), but it is backward compatible with CAT5e. The primary diﬀerences between CAT5e and CAT6 cable are the wire gauge of the conductors and the number of twists per inch in each wire pair. CAT6 cable uses heavier gauge wire and more twists per inch, providing lower crosstalk, higher signal-to-noise ratio, and an overall better performance rating than the CAT5e equivalent.

Which type of cable you choose for your application depends on several factors. Network design, installation type (ﬁxed or mobile), budget, and future applications should all be considered when selecting the type of cable you will use. CAT5e cable is usually slightly more cost eﬀective, may be easier to work with, and still fully supports Gigabit speeds, but Cat6 is generally a better choice and is well worth the additional investment given its capacity for faster speeds, especially when considering the future needs from your system.

Power User Tip: Always source your cable from a reputable vendor to ensure you are purchasing a high-quality product that meets the industry and engineering speciﬁcations it claims by its Category label (CAT5e or CAT6). Never purchase cables labeled CCA (Copper Clad Aluminum), as it does not meet the TIA/EIA speciﬁcations for Cat5e and Cat6 cabling.

Page 20

3 AVB Networking Basics

3.3 Choosing the Right Cables

StudioLive™ Series III

AVB Networking Guide

3.3.2 Shielded vs. Unshielded

Conductor

Insulation

Pair shield

Sheath

Shielded Twisted Pair (STP)

Unshielded Twisted Pair (UTP)

Conductor

Insulation

Sheath

Conductor

Insulation

Pair shield

Cable shield

Sheath

Shielded and Foiled Twisted Pair (STP)

Foiled Unshielded Twisted Pair (UTP)

Conductor

Insulation

Sheath

Cable shield

Whether you use CAT5e or CAT6 cable, you will have the option to use Shielded or Unshielded cable. Both cable types can be used for AVB networking and have advantages, depending on the type of AVB installation you are designing.

Shielded twisted-pair (STP) cables provide a barrier to help interference, especially electromagnetic interference (EMI). STP cable is constructed with additional electrical shielding along the length of the cable as well as specially constructed plugs that electrically connect and properly ground the cable shielding to the device connected at each end. Originally developed for industrial applications, shielded cable is ideal for ﬁxed installations where Ethernet cable must be run near power, ﬂuorescent lighting, etc.

Like a balanced analog cable, STP cables have to be grounded, so you’ll need to use STP-compatible RJ45 connectors. Most XLR-style locking Ethernet connections you will ﬁnd used on Pro Audio equipment, like the StudioLive Series III mixers and NSB stage boxes, are designed to be able to support both shielded and unshielded cable connections.

There are some speciﬁc use cases which might call for shielded Ethernet cable to prevent electromagnetic interference (EMI) or radio-frequency interference (RFI) from aﬀecting the performance of the cable. It should be noted that if shielded cable is used but not implemented correctly, it can introduce problems and make things worse than using unshielded cable. As with everything in audio, if you are not experienced in installation or design, it’s well worth the investment to consult a professional who is.

There are several diﬀerent acronyms commonly used to describe shielded cables where the twisted pairs are not themselves individually shielded. These cable types rely on an overall shield or screen to ﬁlter out external noise. While you may ﬁnd them used synonymously, there are important diﬀerences to note:

• SF/UTP. This cable features a braided screen (S) and a foil shield (F) that surrounds unshielded twisted pairs (UTP). Cables with an overall braided screen are great for applications that need extra protection from EMI.

• S/UTP. This cable features a braided screen (S) surrounding unshielded twisted pairs (UTP).

• F/UTP (FTP). This cable uses an overall foil shield (F) to protect the unshielded twisted pairs (UTP) and is essentially very similar to a simple UTP cable, oﬀering very little protection.

Page 21

3 AVB Networking Basics

3.3 Choosing the Right Cables

StudioLive™ Series III

AVB Networking Guide

• S/FTP. This cable features an overall braided screen (S) encasing foil- screened twisted pairs (FTP). In this design, each twisted pair is protected by its own foil screen to limit the amount of crosstalk between them.

• F/FTP. In this design, an overall foil screen (F) protects individually wrapped foil-screen twisted pairs (FTP).

• U/FTP. This design removes the overall screen and relies only on the individual foil-wrapped twisted pairs (FTP) to limit interference.

Unshielded twisted pair (UTP) and its cousins, U/FTP and F/UTP are lighter weight and more ﬂexible. These cable types have the beneﬁt of being easier to terminate and much more ﬂexible than their shielded counterparts. What type of cable you select depends largely on your application and the amount of environmental interference you anticipate encountering.

3.3.3 Solid-core vs. Stranded

Another thing to keep in mind when selecting Ethernet cable is whether it is solid- or stranded-core. In a solid-core cable, each of the conductors is a single copper wire, which is a better ﬁt for installations and long cable runs (more than 70m). Stranded-core cables use multiple, thinner copper wires for each conductor, making them more ﬂexible and easier to handle. This makes stranded-core cable a better ﬁt for touring and shorter cable runs.

Most Ethernet cable is solid-core, constructed using solid insulated bare copper conductors for each of the eight wires in the four twisted pairs of the cable. These cables are meant to be used in permanent and semi-permanent installations, and are designed for longer distance horizontal and backbone cable runs. All CAT5e and CAT6 solid UTP cables are designated with a minimum bend radius for performance standards. The bend radius is the minimum radius a cable can be bent without kinking it, which can lead to damage and shorten its life. The minimum bend radius for Category 5, 5e, and 6 cable is four times the cable diameter, or about one inch. Proper cable installation is essential in order to maximize the performance of the cable.

In the case of a mobile live sound operation, with frequent setup and teardown, solid-core Ethernet cable probably isn’t the best choice, as it’s generally stiﬀer and not conducive to easy layout and ﬂat deployment runs. Solid-core cables should not be over-ﬂexed, bent, or twisted beyond the cable’s recommended speciﬁcations, as you risk damaging the cable, causing it to underperform or even fail.

Stranded Ethernet cables have multiple strands (typically 7 strands per conductor) of insulated bare copper conductors. These cables are typically used for patch cords/cables connecting devices to the network, but because these cables are more ﬂexible than solid conductors, they are an excellent choice for portable uses and applications where repeated ﬂexing is common, such as frequent setup and teardown of a live sound PA system.

A Quick Note About Tactical Ethernet Cable

When you need Ethernet cable that is intended speciﬁcally for harsh environments with repeated deployment, a special type of cable should be considered. Tactical cable generally uses stranded-wire construction for ﬂexibility and durability, as well as employing a heavy, often rubberized outer jacket in addition to the lightweight PVC jacket (sometimes referred to as “up-jacketed”). Tactical Ethernet cable has a very similar feel and handling characteristics to balanced audio cable, and is much more rugged than common solid-core cable used for in-wall building installation, making it ideal for Pro Audio and Live Sound applications.

Inside your Ethernet cable

Solid core Stranded

Page 22

3 AVB Networking Basics

3.3 Choosing the Right Cables

StudioLive™ Series III

AVB Networking Guide

3.3.4 Plug Termination

Making your own Ethernet cables can be a great way to save money, and allows you to create cables to ﬁt your needs and speciﬁcations exactly. If you choose to make your own Ethernet cables, it’s important to be aware of some possible pitfalls and follow some important general guidelines.

Most RJ-45 connectors are designed to be used with either solid-core or stranded cable; however, you should always conﬁrm the connector’s compatibility to the type of cable you are deploying. Using a plug designed for one type of cable with the wrong cable type can produce unreliable results.

The same is true for CAT5e and CAT6 cable connectors. Most RJ-45 connections are only meant to be used speciﬁcally with one or the other. Additionally, some connectors are designed for speciﬁc wire gauges and cable diameters, so, again, you should always conﬁrm your connector’s compatibility with the speciﬁc cable you are using.

Power User Tip: Just like sourcing cable, it’s important to source quality connector from a reputable vendor. The connector itself is one of the most crucial pieces in the equation. Even the highest quality cable is only as good as the connections terminating each end.

3.3.5 T568A or T568B

There are two wiring pinouts deﬁned by TIA/EIA standards: T568A and T568B. Currently, T568B is used almost universally in the U.S. - a legacy of analog telephone compatibility - while T568A is more common worldwide. Either is perfectly acceptable as long as you are consistent. If you’re doing a new wiring install, it’s best to choose one or the other and stick with it throughout your network. If you’re making new cabling and not sure about an existing wiring install, don’t worry, it’s even okay to intermingle the two standards for the most part. The most important consideration and the only rule you absolutely must follow is that for a given cable or run, you must use the same wiring standard on both ends.

3.3.6 Twisted Pair Tips

When building your own twisted-pair Ethernet cable, it is crucial that the twists are maintained as close as possible to the contact termination within the plug as possible. You’ll also want to make sure that the wire pairs running to adjacent pins are parallel inside the plug body all the way to the pin. You don’t want diﬀerent pairs wrapped around each other or have wires bunched up inside the plug and pressed against each other.

Trimming the wire pairs to the proper length is also crucial, as you want to make sure that the back-crimp of the plug is clamping down on the cable jacket, not the wires themselves.

You might be surprised at how easy it is to create a poor termination and how narrow the window is between a working cable and a failing cable. The crosstalk performance and EMI rejection capabilities of Ethernet cable, which ensure it will function up to its rated speciﬁcation, are entirely dependent on maintaining these relationships of the wires within the cable and the plug termination. A little attention to detail goes a long way in this respect. Again, if you are unfamiliar with proper termination techniques, PreSonus recommends consulting with a professional.

Page 23

3 AVB Networking Basics

3.4 Understanding Hops

StudioLive™ Series III

AVB Networking Guide

3.4 Understanding Hops

In its simplest terms, 1 LAN is equal to 1 hop, where the LAN is the span between two AVB switches (also known as ‘bridges’). Take a look at the examples below. These examples are fairly straightforward: one LAN connection equals one AVB hop.

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

StudioLive 24R

StudioLive 16

NSB 16.8

NSB 8.8

SW5E AVB Switch

Sub/Matrix Sub/Matrix

Sub/Matrix

Sub/Matrix Sub/Matrix

Sub/Matrix

MIX SELECT

BANK

Page

(Insert)

Input Mic/Line Assign

Channel

Stereo

Preset

CompGate

Processor EQ / Dyn

MonitorFX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

-2

-12

-24

-36

-48

-65

-2

-12

-24

-36

-48

-65

Level

Mix 1

Mix 3

Mix 5

Mix 7

Mix 2

Mix 4

Mix 6

Mix 8

Mix 9

Mix 11

Mix 13

Mix 15

Mix 10

Mix 12

Mix 14

Mix 16

Ch 11Ch 22Ch 43Ch 44Ch 55Ch 66Ch 7

1 2

In this next example, the EarMix 16M has a third hop because the input channels from the NSB16.8 stage box are being routed to the StudioLive 16, where they are processed by the Fat Channel and added to FlexMixes before they are then sent back out to the network and on to the EarMix 16M, making three total hops between the NSB 16.8 and the EarMix 16M.

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

SW5E AVB Switch

EarMix 16M

StudioLive 16

NSB 16.8

Sub/Matrix Sub/Matrix

Sub/Matrix

Sub/Matrix Sub/Matrix

Sub/Matrix

MIX SELECT

BANK

Page

(Insert)

Input Mic/Line Assign

Channel

Stereo

Preset

CompGate

Processor EQ / Dyn

MonitorFX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

-2

-12

-24

-36

-48

-65

-2

-12

-24

-36

-48

-65

Level

Mix 1

Mix 3

Mix 5

Mix 7

Mix 2

Mix 4

Mix 6

Mix 8

Mix 9

Mix 11

Mix 13

Mix 15

Mix 10

Mix 12

Mix 14

Mix 16

Ch 11Ch 22Ch 43Ch 44Ch 55Ch 66Ch 7

1 2 3

The more switches or devices that are cascaded, the more potential for additional hops being added between devices on your network. As hops are added, the potential for the latency between the source and destination to exceed the limits set by the AVB speciﬁcation is increased. Because of this, PreSonus recommends a maximum of six hops between source and destination.

Page 24

3 AVB Networking Basics

3.5 Network Topologies

StudioLive™ Series III

AVB Networking Guide

3.5 Network Topologies

AVB provides several diﬀerent methods of Network topology. This section will outline the three diﬀerent methods of connecting your PreSonus AVB network. It is important to note that these three diﬀerent topologies can be used individually or combined depending on your particular application.

When deciding which method or methods will best suit your needs, take into consideration your channel count, system latency, the number of locations, as well as future needs to expand your system.

3.5.1 Point-to-Point (P2P)

A point-to-point or P2P network is the simplest to design. While not technically a network in and of itself, a Point-to-Point conﬁguration relies on networking protocols in order for two devices to transmit data to one another.

The most common example of this type of topology is a digital mixer, like a StudioLive Series III console mixer, connected to a network stage box, such as an NSB 8.8 or NSB 16.8:

MANUFACTURING DATE

DESIGNED AND ENGINEERED IN BATON ROUGE, LA, USA • MANUFACTURED IN CHINA • PATENTS PENDING • “STUDIOLIVE”

and “PreSonus” ARE REGISTERED TRADEMARSK OF PRESONUS AUDIO ELECTRONICS • SD LOGO IS A TRADEMARK OF SD-3C, LLC

Ethernet cable

NSB16.8 AVB Network Stagebox

Side View

StudioLive 16 Digital Console Mixer

Rear View

Another example is created when using a StudioLive Series III console mixer at Front-of-House and a StudioLive Series III rack mixer in Monitor mode:

StudioLive 24 Digital Console Mixer

Rear View

StudioLive 24R Digital Console Mixer

Rear View

In both of these examples, an Ethernet cable is run from one device to the other and the routing is handled eﬃciently from the console mixer’s touchscreen.

Page 25

3 AVB Networking Basics

3.5 Network Topologies

StudioLive™ Series III

AVB Networking Guide

3.5.2 Daisy-Chain

A daisy-chain topology allows you to connect devices serially. This conﬁguration requires a device have a built-in AVB switch that provides an additional port, like the PreSonus NSB-series stage boxes and EarMix 16M personal monitor mixers. Because of this, when connecting a simple network, you can connect your devices as follows:

StudioLive 24 Digital Console Mixer

Rear View

StudioLive 24R Digital Console Mixer

Rear View

NSB 8.8 AVB Network Stagebox

Side View

Page 26

3 AVB Networking Basics

3.5 Network Topologies

StudioLive™ Series III

AVB Networking Guide

3.5.3 Star

It is important to mention that the Daisy-chain topology creates the potential for additional and unnecessary hops that could be omitted when using a centralized AVB Switch. This is where the Star topology becomes ideal for networks that require the use of more than just a handful of devices.

A star topology utilizes the network’s bandwidth more eﬃciently. It also minimizes hops and the additional latency that can come with it. Star networks are based around a centrally located switch or switches. All the nodes on the network are connected to this switch, so there are fewer hops between devices.

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

StudioLive 24 Digital Console Mixer

NSB 16.8 AVB Network Stagebox

SW5E AVB Switch

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

EarMix 16M Personal Monitor Mixer

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

EarMix 16M Personal Monitor Mixer

AVB In

Link/ACT 1G

AVB In

Link/ACT 1G

AVB In

Link/ACT 1G

Star topologies are easily expanded, making them a great solution for dynamic applications. For devices that support PoE (Power over Ethernet), like the EarMix 16M, a star topology provides the added beneﬁt of delivering audio and data connectivity as well as power, when using a PoE switch, like the SW5E.

Page 27

4 Conﬁguring Your AVB Network

4.1 Using AVB with a StudioLive Series III Mixer and a Mac

StudioLive™ Series III

AVB Networking Guide

4 Conﬁguring Your AVB Network

4.1 Using AVB with a StudioLive Series III Mixer and a Mac

StudioLive Series III mixers allow you to record and playback audio over AVB on any Mac that supports AVB. A single computer can be used both to control and to record from the StudioLive, or separate computers can be used for control and audio.

Note: At the time of publication Apple only supports connecting one computer via AVB. Once a StudioLive Series III mixer has been selected as an AVB audio device for an Apple computer, no audio can be routed to or from that mixer without using Apple’s AVDECC controller. Because of this, PreSonus recommends using USB for recording on small AVB networks containing only PreSonus devices.

4.1.1 What You Will Need

• StudioLive Series III mixer

• An AVB-compatible Mac running 10.9.5 or later. Any Mac with a Thunderbolt connection should provide hardware support for AVB.

• If your computer does not have a built-in Ethernet port, you will also need a Thunderbolt-to-Ethernet adapter. USB-to-Ethernet adapters do not support AVB.

Note: Recording over AVB is not supported while using Stagebox mode with your StudioLive Series III mixer. Connecting a Mac to your AVB network with your StudioLive mixer enabled as an AVB device will disable Stagebox mode.

4.1.2 Making the Connections

If you would like to remote control the mixer using UC Surface or QMix-UC, the control port on the back of the mixer must be connected either directly to a control device or to the same wireless network as the device running the control software. The easiest conﬁguration is to connect a wireless router to the mixer’s control port and then connect your computer or other remote devices to the router using either wired or wireless connections. If you need AVB audio between more than just the mixer and the one computer, you can incorporate an AVB switch to create a full AVB network.

Note: StudioLive Series III mixers cannot be remotely controlled over the audio network connection.

MANUFACTURING DATE

DESIGNED AND ENGINEERED IN BATON ROUGE, LA, USA • MANUFACTURED IN CHINA • PATENTS PENDING • “STUDIOLIVE”

and “PreSonus” ARE REGISTERED TRADEMARSK OF PRESONUS AUDIO ELECTRONICS • SD LOGO IS A TRADEMARK OF SD-3C, LLC

iPad running UC Surface

Android running QMix-UC

Page 28

4 Conﬁguring Your AVB Network

4.1 Using AVB with a StudioLive Series III Mixer and a Mac

StudioLive™ Series III

AVB Networking Guide

4.1.3 Setting Up Your Mac

When a StudioLive mixer is conﬁgured as an AVB audio interface for your Mac using Core Audio, MacOS will acquire the AVB device, and prevent any other AVB device from sending or receiving streams to or from the mixer. Because of this, PreSonus recommends using the USB connection for recording and playback when a StudioLive mixer is used as a part of a PreSonus AVB ecosystem network.

If your Mac doesn’t have an Ethernet port, you can connect your mixer via Ethernet using a Thunderbolt-to-Ethernet adapter. USB-to-Ethernet adapters cannot be used because the USB chipset used in Mac computers does not support AVB Ethernet.

1. Open Audio/MIDI Setup.

2. Go to Window>Show Network Devices Browser.

3. Check the box next to your mixer to enable it as a Core Audio device over AVB (this may take a moment)

Once your computer has successfully connected to your StudioLive Series III mixer, your mixer will appear in Audio MIDI Setup as an available audio device that you can use with any software that supports Core Audio (Studio One, Pro Tools, Logic, etc.).

Page 29

4 Conﬁguring Your AVB Network

4.2 NSB-series Stage Box with a StudioLive Series III Console Mixer

StudioLive™ Series III

AVB Networking Guide

4.2 NSB-series Stage Box with a StudioLive Series III Console Mixer

NSB-series stage boxes can be conﬁgured from the touchscreen on any StudioLive Series III console mixer. It should be noted, however, that UC Surface conﬁguration is also available. Please review Section 4.3 for instructions.

4.2.1 Step 1: Connect Your Stage Box to Your Mixer

1. Press the Home button on your StudioLive Series III mixer.

2. Press the Audio Routing icon on the Touchscreen.

3. Press the Stagebox Setup button on the Touchscreen.

4. Select the NSB-series stage box from the list on the left.

Power User Tip: In applications where you are using multiple NSB-series stage boxes of the same model, you can press the Identify button. This will ﬂash the Power Network LED on the front of the selected NSB stage box from green to red, allowing you to quickly locate your selection.

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

-2

-12

-24

-36

-48

-65

Ch 66Ch 77Ch 88Ch 9

Ch 10

Ch 1111Ch 1212Ch 13

MonitorFX C FX D

FX A FX B

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

Audio Routing

FX A FX B

AVB Input Streams

Audio Routing

Stagebox Setup

Digital Patching

Earmix Setup

Stagebox Setup

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

Page 30

4 Conﬁguring Your AVB Network

4.2 NSB-series Stage Box with a StudioLive Series III Console Mixer

StudioLive™ Series III

AVB Networking Guide

5. Select the mixer you’d like to use to control the preamps on your NSB stage box. By default, this is set to “All,” enabling any StudioLive Series III mixer on the AVB network to control the preamps on your stage box.

Power User Tip: Because your NSB stage box inputs are most likely routed to multiple sources on your network, PreSonus highly recommends designating one mixer to control the NSB preamps. Please review your NSB-series Owners Manual for information on preamp permissions and gain compensation.

6. Select the AVB Output Sends you’d like returned to the physical outputs on your NSB stage box. Because the AVB streams are routed in banks of 8, you can only source these outputs from one mixer on the network.

Note: As previously mentioned, this is also the clocksource for your NSB-series stage box. You must assign an output stream from your mixer to your NSB-series stage box so that it is clocked properly over the network. If you do not assign an output stream from your mixer, your networked stage box will not be properly synced and you will hear audio artifacts.

7. Press the Apply button when ﬁnished.

Power User Tip: Once send streams from your mixer have been successfully patched, you will see a green status indicator next to your NSB stage box in the setup screen.

FX C FX D

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

StudioLive 16

All

StudioLive 16

FX C FX D

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

StudioLive 16: Send 41-48

StudioLive 16: Send 33-40

StudioLive 16: Send 49-56

StudioLive 16: Send 41-48

FX C FX D

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: StudioLive 16: Send 41-48

Apply

NSB 16.8

Apply

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: StudioLive 16: Send 41-48

Apply

NSB 16.8

Name: NSB 16.8

Page 31

4 Conﬁguring Your AVB Network

4.2 NSB-series Stage Box with a StudioLive Series III Console Mixer

StudioLive™ Series III

AVB Networking Guide

4.2.2. Step 2: Routing Stage Box Inputs to Mixer

1. Press the AVB Inputs button.

2. Select the desired mixer input stream from the Input Streams list.

3. Select the desired NSB AVB output stream from the Available Stream list to patch the NSB inputs to selected channels on your mixer.

Note: NSB stage boxes have two sets of streams: one with Gain Compensation and one without. Please review your NSB-series Owners Manual for more information on Gain Compensation and when it is advantageous or even required.

4.2.3 Step 3: Engage Network Sources

1. Press Digital Patching from the Audio Routing menu.

2. Select Input Source and assign the Network source for the desired channels by pressing the Network button next to each Input.

Select each channel and press the Network button from the Input source section in the Fat Channel.

Your NSB-series stage box is now ready to use!

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: StudioLive 16: Send 41-48

Apply

NSB 16.8

AVB Inputs

FX C FX D

FX A FX B

AVB Input Streams

Available StreamAssigned Stream

Input Streams

Input 1-8 None

NSB 16.8: Send 1-8

None

NSB 16.8: Send 9-16None

None

Input 9-16

Input 17-24

Input 25-32

Input 33-40

Input 41-48

Input 49-56

NSB 16.8: Send 1-8 (GC)

NSB 16.8: Send 9-16 (GC)

Input 17-24

FX C FX D

FX A FX B

AVB Input Streams

Available StreamAssigned Stream

Input Streams

Input 1-8 None

NSB 16.8: Send 1-8

None

NSB 16.8: Send 9-16None

None

Input 9-16

Input 17-24

Input 25-32

Input 33-40

Input 41-48

Input 49-56

NSB 16.8: Send 1-8 (GC)

NSB 16.8: Send 9-16 (GC)

NSB 16.8: Send 1-8

FX C FX D

FX A FX B

AVB Input Streams

Audio Routing

Stagebox Setup

Digital Patching

Earmix Setup

Digital Patching

FX A FX B

Input Source

Analog Outputs

Digital Patching

Input

AVB 18

AVB 19

AVB 20

AVB 21

AVB 22

Ch. 18

Ch. 19

Ch. 20

Ch. 21

Ch. 22

Assigned Source Available Source

AVB Outputs

USB Outputs

SD Card/AES

Reset Source

Master Reset

Ch. 17 AVB 17

Page

(Insert)

Input Mic/Line Assign

Channel

Stereo

Processor

-2

-12

-24

-36

-48

-65

Level

Sb 1

Sub 1

Sb 2

Sub 2

Ax 3

Aux 3

Ax 4

Aux 4

Page 32

4 Conﬁguring Your AVB Network

4.3 NSB-series Stage Box UC Surface Setup

StudioLive™ Series III

AVB Networking Guide

4.3 NSB-series Stage Box UC Surface Setup

As previously mentioned, NSB-series stage boxes can be conﬁgured and routed from the touchscreen on the StudioLive Series III console mixers. This can also be done from UC Surface for all StudioLive Series III mixers.

4.3.1 Step 1: Connect Your Stage Box to Your Mixer

1. Launch UC Surface and connect to your StudioLive Series III mixer.

2. Click or Tap on the Settings Gear.

3. Click or Tap on the Network tab.

4. In the Stagebox Setup area, select the NSB-series stage box from the list.

and gain compensation, please review the NSB-series Owners Manual.

6. Select the AVB Output Sends from the mixer that you’d like returned to the physical outputs on your NSB stage box. Because the AVB streams are routed in banks of 8, you can only source these outputs from one mixer on the network.

7. Press the Apply button when ﬁnished.

Page 33

4 Conﬁguring Your AVB Network

4.3 NSB-series Stage Box UC Surface Setup

StudioLive™ Series III

AVB Networking Guide

4.3.2 Step 2: Routing Stage Box Inputs to Your Mixer

1. Click on the AVB Inputs tab.

2. Next to desired inputs on your mixer, select the NSB AVB Send stream you would like to use from the Available Stream drop-down menu. This will patch the selected inputs on your NSB stage box to these channels on your mixer.

4.3.3 Step 3: Engage Network Sources

1. Click or tap on the Digital Patching tab.

2. By default, the Input Source tab will be active. Select AVB from the Source Type selection.

3. Click or tap on the source icon for channels on your StudioLive mixer to change each channel’s source input to AVB. This will enable the corresponding NSB stage box input to each channel. In the example below, NSB Input 1 will be enabled on StudioLive 24R channel 25, NSB Input 2 will be enabled on StudioLive 24R channel 26, etc.

Your NSB stage box is now ready to use!

Page 34

4 Conﬁguring Your AVB Network

4.4 EarMix 16M with StudioLive Console Mixers

StudioLive™ Series III

AVB Networking Guide

4.4 EarMix 16M with StudioLive Console Mixers

EarMix 16M personal monitor mixers can be conﬁgured from the touchscreen on any StudioLive Series III console mixer. It should be noted, however, that UC Surface conﬁguration is also available. Please review Section 4.5 for instructions.

1. Press the Home button on your StudioLive Series III mixer.

2. Press the Audio Routing icon on the Touchscreen.

3. Press the EarMix Setup button on the Touchscreen.

4. Select EarMix 16M from the list on the left.

MonitorFX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

MonitorFX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

Audio Routing

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Input Streams

Audio Routing

Stagebox Setup

Digital Patching

Earmix Setup

EarMix Setup

(Insert)

Stereo

Preset

Comp Gate

EQ / Dyn

FX C FX D

FX A FX B

-2

-12

-24

-36

-48

-65

EarMix Setup

Name: EarMix 16M

1-8 Send Source: AVB Send 41-48

9-16 Send Source: AVB Send 49-56

EarMix 16M

EarMix 16

EarMix 16M

Page 35

4 Conﬁguring Your AVB Network

4.5 EarMix 16M Setup from UC Surface

StudioLive™ Series III

AVB Networking Guide

If you are unsure which EarMix 16M is which, press the Identify button. This will

ﬂash all the Select buttons on the currently selected EarMix 16M.

5. Next, you will need to select the AVB Sends from your mixer to which you route to your EarMix. By default, the last 16 AVB Inputs are patched from Flex Mixes 1-16.

6. Press apply to ﬁnish.

Power User Tip: If you are conﬁguring multiple EarMix 16M Personal Monitor Mixers and would like them to receive the same routing from the mixer, press the Apply All button. This will apply the current AVB routings to every EarMix 16M currently on the AVB network.

4.5 EarMix 16M Setup from UC Surface

As previously mentioned, EarMix 16M personal monitor mixers can be conﬁgured and routed from the touchscreen on the StudioLive Series III console mixers. This can also be done from UC Surface for all StudioLive Series III mixers.

1. Launch Universal Control.

2. Select your mixer from the device list.

3. Click or Tap on the Settings Gear.

4. Click or Tap on the Networking tab.

MonitorFX D

FX B

EarMix Setup

Name: EarMix 16M

Apply

Apply All

1-8 Send Source: AVB Send 41-48

9-16 Send Source: AVB Send 49-56

FX C FX D

FX A FX B

EarMix Setup

Name: EarMix 16M

Apply

Apply All

1-8 Send Source: AVB Send 41-48

9-16 Send Source: AVB Send 49-56

EarMix 16M

AVB Send 9-16

MonitorFX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

EarMix Setup

Name: EarMix 16M

Apply

Apply All

1-8 Send Source: AVB Send 41-48

9-16 Send Source: AVB Send 49-56

EarMix 16M

Page 36

4 Conﬁguring Your AVB Network

4.5 EarMix 16M Setup from UC Surface

StudioLive™ Series III

AVB Networking Guide

5. Select EarMix 16M in the device list.

If you are unsure which EarMix 16M is which, click or tap the Identify button. This will ﬂash the Select buttons on the currently selected EarMix 16M.

6. Select the desired StudioLive mixer AVB sends for Source Selection 1-8 and 9-16.

7. Press apply to ﬁnish.

Page 37

5 Large Network: Real-world Example

5.1 Example Network Overview

StudioLive™ Series III

AVB Networking Guide

5 Large Network: Real-world Example

This section provides detailed instructions on creating a large network that combines all of the information covered in this guide. These instructions can be altered and applied to other installations as necessary and are meant to serve as an example conﬁguration.

This guide will break down the example system as follows:

• AVB and Control Network Connections

• Audio Input Connections

• Audio Output Connections

5.1 Example Network Overview

Our example will consist of the following PreSonus products. It should be noted that any PreSonus StudioLive Series III mixer can be used for any or all of the applications described below. The exception being the StudioLive 16R. While the set-up instructions are the same, this mixer is not expandable to 32 inputs, 16 Flex Mixes, and 4 subgroups like the rest of the family:

Front-of-House Console

A StudioLive 24 console mixer is used for Front-of-House. This compact console is a full 32-channel mixer with 16 Flex Mixes and 4 Subgroups that can be routed to and from the network. While the onboard analog I/O is limited, this mixer can be expanded using any StudioLive Series III mixer, NSB-series stage box, or EarMix 16M personal monitor mixer.

The StudioLive 24 at Front-of-House in our example will receive its channel sources as follows:

NSB 8.8

NSB 16.8

StudioLive 24R

NSB 16.8

Page 38

5 Large Network: Real-world Example

5.1 Example Network Overview

StudioLive™ Series III

AVB Networking Guide

Broadcast Console

A second StudioLive 24 is shown in a remote broadcast location on the network. Because this is an independent stand-alone mixer, it can source its input and output streams locally or from anywhere on the network and then mix them down for a live stream on a computer connected via USB, or use any of the analog mix outputs or the AES output to feed an external broadcast system.

The StudioLive 24 at Broadcast e in our example will receive its channel sources as follows:

Monitor Mixer

A StudioLive 24R will be used in Monitor Mix mode allowing us to easily mirror the main mix while retaining the ability to create monitor mixes for the local Flex Mixes to feed ﬂoor wedges. Because the StudioLive 24R is controlled exclusively by UC Surface, the monitor mixes can be controlled anywhere in the venue, even from stage or Front-of-House, if necessary. For more

information on UC Surface, please review the QMix-UC Reference Manual.

The StudioLive 24R at Monitor position in our example will receive its channel sources as follows:

NSB 8.8

NSB 16.8 StudioLive 24 (FOH)

StudioLive 24R

NSB 16.8

NSB 8.8

NSB 16.8

StudioLive 24 (FOH)

StudioLive 24R (local)

NSB 16.8

Page 39

5 Large Network: Real-world Example

5.1 Example Network Overview

StudioLive™ Series III

AVB Networking Guide

Personal Monitoring

Personal monitoring will be available both from four EarMix 16M personal monitor mixers as well as from QMix-UC. Each EarMix 16M is a 16-channel digital mixer that receives audio inputs exclusively over AVB to be mixed locally from the EarMix control surface. EarMix 16M personal mixers are equipped with a high-voltage headphone ampliﬁer and stereo line outputs to feed either headphones or powered ﬂoor wedges.

By contrast, QMix-UC is an Android™ and iOS® app that remotely controls the Aux Mixes on a StudioLive mixer. This is a great solution for musicians using wireless in-ear system who desire simple, handheld control on their personal mobile device.

For more information on QMix UC, please review the QMix-UC Reference Manual.

Each of the four EarMix 16M personal monitor mixers in our example will receive their channel sources as follows:

Stage Boxes

An NSB 8.8 and NSB 16.8 will both be added to the network to provide two diﬀerent locations on stage for analog connections to simplify cable runs. The NSB 8.8 will be used exclusively for the drum kit. The NSB 16.8 will provide input connections for the rest of the band.

In addition to providing analog input connections on stage, the outputs of the two NSB-series stage boxes will receive their sources in our example as follows:

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

StudioLive 24R

StudioLive 24 (FOH)

Page 40

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

Network Switches

Two PreSonus SW5E AVB network switches will be added to the network. One switch will be used exclusively for the EarMix 16 Personal Monitor mixers so that all four devices can be powered over Ethernet. This system also utilized the network switch built into the NSB-series stage boxes to facilitate greater connectivity with fewer components.

Recording System

A computer is connected over USB to the StudioLive 24 at Broadcast position to record up to 40 sources. StudioLive Series III mixers include both Capture and Studio One Artist.

Wireless Router

A wireless router will be added to provide a LAN control network for devices running UC Surface and QMix-UC. Please visit www.presonus. com for a list of recommended wireless routers. Conﬁguration tutorials are available at www.presonus.com/learn/technical-articles.

5.2 Network Connections

Before beginning any Network conﬁguration, it is highly recommended that you follow the following best practices:

• Draw It. Just like when you create a complex analog audio system, when you begin creating an AVB network, we recommend creating a diagram on paper, before you start connecting equipment. Not only will this provide you with a map from which to work more eﬃciently, it will also save you hours of cable tracing later should something go wrong, because you’ll know where all the Ethernet cables are going.

• Label it. Sure you think you’ll remember that your Front-of-House console is connected to AVB port 2 on your switch and port 5 of your LAN router, but best to be safe and label the cables at both ends, just to be sure.

• Place it. Place your gear where it needs to be located before you connect any cables, especially if you’re making your own. This will save time when you’re running cables later because you know you’ll be running them to the correct location.

• Stretch it. Always leave a little slack in your cable runs. Ethernet cable is not like analog cable in that it is not subject to the signal degradation that comes from long cable runs. This will provide you with some ﬂexibility and room to adjust in the future.

In the diagram that follows, each component is connected to the AVB network utilizing a modiﬁed star topology with the NSB-series stage boxes and StudioLive 24R attached using a daisy-chain topology. It should be noted that this system leaves room for stage expansion because of the AVB Thru ports available on each of the EarMix 16M personal monitor mixers. These connections could be used for additional components that don’t require PoE.

A separate LAN network has been created to remote control the three mixers using UC Surface and QMix-UC. It should be noted that any wireless device connected to the wireless router and running UC Surface or QMix-UC can be connected to any or all three mixers. Because of this, it is important to manage your user permissions. For more information on User Permissions, please review the UC Surface and QMix-UC Reference Manuals.

Page 41

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

Network Connection Diagram

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

EarMix 16M Personal Monitor Mixer

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

EarMix 16M Personal Monitor Mixer

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

EarMix 16M Personal Monitor Mixer

Treble

Pan

Limit

Mid Freq Mid Level

Bass

PhonesLine OutAux Input

-6

-18

-40

Level

Network

SELECTED CHANNELGLOBAL MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Recall

Link

Store

Group Mute

Solo

Mono

Select

EarMix 16M Personal Monitor Mixer

NSB 16.8 Stage Box Stage Right

NSB 8.8 Stage Box Stage Right

StudioLive 24 (Broadcast)

StudioLive 24 (Front of House)

StudioLive 24R (Monitors)

AVB In

Link/ACT 1G

AVB In

Link/ACT 1G

AVB In

Link/ACT 1G

AVB In

Link/ACT 1G

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

Blue= PoE On

(Hold to toggle)

White= PoE O

1 2 3 4 5

SW5E

AVB SWITCH WITH PoE

PoE

Link PoE

iPads running

UC Surface

Mobile devices

running QMix-UC

wireless router

Page 42

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

5.2.1 Connecting Your Mixers

Connecting the three StudioLive Series III mixers to this network is relatively straightforward. All that needs to be done is to place the StudioLive 24R into Monitor Mixer Mode and set the clock on the Broadcast mixer to the Network Stream, making the mixer at Front-of-House the master clock for the system. Please note that clocking for the StudioLive 24R is also coming from the mixer at Front-of-House. This setting is handled automatically by the system when Monitor Mixer Mode is engaged.

Changing Network Clock

Changing the network clock can be done from the System menu. To begin, press the Home button on your StudioLive 24 broadcast mixer.

From the Home menu, press System.

From the Network Clock menu, select Network Stream.

Note: The StudioLive 24 at Front-of-House must be connected to the Network and powered on to properly distribute clock. Additionally, an AVB stream must be connected to the Stream 1 input of the StudioLive 24 at broadcast as this is where network clock is derived.

The Clock Status indicator to the left of the selected clock source will illuminate Green when your StudioLive mixer is properly synced.

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

Ch 7

FX C FX D

FX A FX B

-2

-12

-24

-36

-48

-65

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

System

Permissions User Button Assgins

FirmwareFat Ch Load/Paste

Link Aux Mutes Bluetooth Reg.

Sample Rate:

48 kHz

Network Stream

Off

Med HighLow

HighLow

Network Clock:

Show Peak Hold:

LED:

Backlight:

Network Stream

Internal

Network Stream

Sample Rate:

48 kHz

Network Stream

Off

Med HighLow

Network Clock:

Show Peak Hold:

LED:

Backlight:

Page 43

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

Enabling Monitor Mixer Mode

1. Press the Home button on your StudioLive Series III console at Front-of-House.

2. Press Audio Routing on the Home Screen.

3. Press the Stagebox Setup button on the screen.

4. Select your rack mixer from the list at the left.

5. Select the Monitor Mixer Mode.

Comp Gate

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

-2

-12

-24

-36

-48

-65

Ch 66Ch 77Ch 88Ch 99Ch 1010Ch 1111Ch 1212Ch 1313Ch 14

MonitorFX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

Audio Routing

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Input Streams

Audio Routing

Stagebox Setup

Digital Patching

Earmix Setup

Stagebox Setup

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: StudioLive 24

Name: StudioLive 24R

Mode: Monitor Mixer

Apply

Auto Config Routing

StudioLive 24R

NSB 8.8

NSB 16.8

StudioLive 24R

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: StudioLive 24

Name: StudioLive 24R

Mode: Monitor Mixer

Apply

StudioLive 24R

NSB 8.8

Monitor Mixer

Stand-alone

Stagebox

Monitor Mixer

Page 44

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

StudioLive Series III mixers route channels in banks of 8. From the AVB Inputs page,

you can choose to auto-conﬁgure your routing as follows:

• Inputs 1-32 will be routed between the two networked mixers so that they are available on both. The Main Mix will be routed from the console mixer to the rack mixer, but the Flex Mixes will remain local to each mixer.

This is the conﬁguration we will be using for our example.

6. Tap Apply to save the mode.

Power User Tip: Connecting to your mixer and selecting the mode can be one or two steps. When Apply is pressed, both the selected mixer and the selected Stagebox Mode are saved simultaneously.

Your mixers are now connected and synced to each other over the network. Streams can be freely routed via the Digital Patching menu. More information

on Digital Patching can be found in the StudioLive Series III Owners Manual and the UC Surface Reference Manual. The information in the rest of this

tutorial only covers network routing as it relates to our example.

5.2.2 Connect Your NSB-series Stage Boxes to Your Console Mixers

Complete the steps in this section for both the StudioLive 24 at Front-of-House and at the Broadcast position.

1. Press the Home button on the StudioLive 24.

2. Press the Audio Routing icon on the Touchscreen.

3. Press the Stagebox Setup button on the Touchscreen.

FX C FX D

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: StudioLive 24R

Mode: Stand-alone

Apply

Auto Config Routing

StudioLive 24R

Auto Config Routing

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: StudioLive 24R

Mode: Stand-alone

Apply

Auto Config Routing

StudioLive 24R

Apply

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

-2

-12

-24

-36

-48

-65

Ch 66Ch 77Ch 88Ch 9

Ch 10

Ch 1111Ch 1212Ch 13

MonitorFX C FX D

FX A FX B

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

Audio Routing

FX A FX B

AVB Input Streams

Audio Routing

Stagebox Setup

Digital Patching

Earmix Setup

Stagebox Setup

Page 45

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

4. Select the NSB16.8 from the list on the left.

5. In our example, we will be giving preamp permissions for all devices to the StudioLive 24 at Front-of-House.

Power User Tip: Your StudioLive mixers can be given a custom name either from the UCNET Screen (console mixers) or from UC Surface. For more information, please review the StudioLive Series III Owners manual.

When you are done, repeat Steps 1-5 for the NSB 8.8.

Setting the Clock (NSB 16.8 only)

Select the StudioLive 24 (FOH) Sends 41-48 for the AVB Output Stream. This will be the clocksource for the NSB 16.8 as well as route the appropriate AVB Sends for our example. More information on AVB Output routing is covered in Section

5.4.

Power User Tip: Once send streams from your mixer have been successfully patched,

you will see a green status indicator next to your NSB stage box in the setup screen indicating proper clocking.

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

NSB 8.8

StudioLive 24R

NSB 16.8

FX C FX D

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

NSB 8.8

StudioLive 24R

StudioLive 24 (FOH)

StudioLive 24 (Broadcast)

All

StudioLive 24 (FOH)

FX C FX D

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: None

Apply

NSB 16.8

StudioLive 24 (FOH): Send 41-48

StudioLive 24 (FOH): Send 33-40

StudioLive 24 (FOH): Send 49-56

StudioLive

24 (FOH)

: Send 41-48

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: StudioLive 16: Send 41-48

Apply

NSB 16.8

Name: NSB 16.8

Page 46

5 Large Network: Real-world Example

5.2 Network Connections

StudioLive™ Series III

AVB Networking Guide

Setting the Clock (NSB 8.8 only)

For the purposes of our example, the NSB 8.8 will be receiving Output streams from the StudioLive 24R and so will clock to that device. This will also patch the necessary Output Stream used in Section 5.4.

1. Launch UC Surface and connect to your StudioLive 24R.

2. Click or Tap on the Settings Gear.

3. Click or Tap on the Network tab.

4. In the Stagebox Setup area, select the NSB8.8 from the list.

5. Select StudioLive 24R: AVB Sends 41-48 from the drop-down menu below ‘Output Stream.’

6. Press the Apply button when ﬁnished.

Page 47

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

5.3 Analog Input Connections

Once your network is connected, the next step is to connect your analog devices. In our example is connected as follows:

Analog Input Instrument AVB Send

StudioLive 24 AVB

Input Streams

(FOH)

StudioLive 24 AVB

Input Streams

(Broadcast)

StudioLive 24R AVB

Input Streams

(Monitors)

NSB 8.8 In 1 Kick

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 2 Snare

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 3 High Hat

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 4 Tom 1

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 5 Tom 2

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 6 Floor Tom

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 7 Overhead Left

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 8.8 In 8 Overhead Right

NSB 8.8

Send 1-8 (GC)

Input 1-8 Input 1-8 Input 1-8

NSB 16. 8 In 1 Bass D.I.

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 2 Lead Guitar

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 3 Rhythm Guitar

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 4 Acoustic Guitar D.I.

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 5 Backing Vox 1

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 6 Backing Vox 2

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 7 Keys 1 Left

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 8 Keys 1 Right

NSB 16.8

Send 1-8 (GC)

Input 9-16 Input 9-16 Input 9-16

NSB 16.8 In 9 Keys 2 Left

NSB 16.8

Send 9-16 (GC)

Input 17-24 Input 17-24 Input 17-24

NSB 16.8 In 10 Keys 2 Right

NSB 16.8

Send 9-16 (GC)

Input 17-24 Input 17-24 Input 17-24

StudioLive 24R In 1 Wireless Mic 1

StudioLive 24R:

Send 1-8

Input 25-32 Input 25-32 Input 25-32

StudioLive 24R In 2 Wireless Mic 2

StudioLive 24R:

Send 1-8

Input 25-32 Input 25-32 Input 25-32

StudioLive 24R In 3 Wireless Mic 3

StudioLive 24R:

Send 1-8

Input 25-32 Input 25-32 Input 25-32

StudioLive 24R In 4 Wireless Mic 4

StudioLive 24R:

Send 1-8

Input 25-32 Input 25-32 Input 25-32

StudioLive 24 (FOH)

Aux 1 Left

DVD Left

StudioLive 24 (FOH):

Send 1-8

n/a Inputs 33-48 Inputs 33-48

StudioLive 24 (FOH)

Aux 1 Right

DVD Right

StudioLive 24 (FOH):

Send 1-8

n/a Inputs 33-48 Inputs 33-48

StudioLive 24 (FOH)

Talkback In

Talkback Mic

StudioLive 24 (FOH):

Send 1-8

n/a Inputs 33-48 Inputs 33-48

Page 48

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

Audio Input Connection Diagram

lead

guitar amp

backup vocal mics

bass D.I.

acoustic guitar D.I.

In 1

In 2

In 3

In 4

In 7

In 8

In 5

In 6

drum kit

In 4

In 1

In 2

Ins 7-8

Ch 6In 5

In 3

keyboard/DI

rhythm

guitar amp

Ins 9-10

NSB 8.8 Stage Box Stage Right

NSB 16.8 Stage Box Stage Right

In 1 In 2 In 3 In 4

StudioLive 24R (Monitors)

Talkback

Aux In 1 L/R

dvd player

StudioLive 24 (Front of House)

Page 49

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

5.3.1 Routing AVB Sends to Your Console Mixers

For brevity, this section will only show the basic routing from the ﬁrst input to the NSB 8.8 to a console mixer. Channels from the NSB 16.8, the StudioLive 24R, and the StudioLive 24 at Front-of-House are routed in the same manner. The StudioLive 24 used for Broadcast should be conﬁgured exactly the same way as the StudioLive 24 at Front-of-House. More information on NSB-series stage

box features and functions can be found in the NSB-series Owners Manual.

AVB Streams must be routed in banks of eight. The channels within these streams are patched as follows:

• NSB-series. NSB-series inputs are patched one-to-one to their AVB Sends (Input 1 is patched to AVB Send 1, Input 9 is patched to AVB Send 9, etc.).

• StudioLive Mixers. By default, mixer inputs are also patched one- to-one to their AVB Sends. However, mixer inputs can be freely routed to any destination via the Digital Patching menu.

Patching StudioLive 24 (FOH) Inputs to Their AVB Sends

Before we begin patching AVB Sends to the console mixer, we must ﬁrst patch the analog inputs we want available to the network from the StudioLive 24 at Front-of-House to the AVB Sends we’d like to use (AVB Sends 1-8, in this case).

1. From the StudioLive 24 at Front-of-House, open the Digital Patching screen and press the AVB Sends tab. For more information on Digital Patching, please

review the StudioLive Series III Owners Manual.

2. In the Inputs column, press AVB 1.

3. Select the Available Source column and use the value encoder to scroll to Aux In 1L.

Repeat Steps 1-3 to patch Aux 1R and the Talkback In to AVB Sends 2 and 3 respectively.

Power User Tip: While our example doesn’t require this, it is important to note that using Digital Patching in the manner described above can be done for StudioLive rack mixers as well using the Digital Patching menu in UC Surface.

FX C FX D

FX A FX B

Input Source

Analog Outputs

Digital Patching

Input

Ch. 32

Analog 15

Aux In 2L

Aux In 2R

AVB 2

AVB 3

AVB 4

AVB 5

AVB 6

Ch. 2

Ch. 3

Ch. 4

Ch. 5

Ch. 6

Assigned Source Available Source

AVB Sends

USB Sends

SD Card/AES

Reset Sends

Master Reset

Ch. 31

Aux In 1R

AVB 1 AUX In 1L

Aux In 1L

AVB Sends

FX C FX D

FX A FX B

Input Source

Analog Outputs

Digital Patching

Input

Ch. 32

Analog 15

Aux In 2L

Aux In 2R

AVB 2

AVB 3

AVB 4

AVB 5

AVB 6

Ch. 2

Ch. 3

Ch. 4

Ch. 5

Ch. 6

Assigned Source Available Source

AVB Sends

USB Sends

SD Card/AES

Reset Sends

Master Reset

Ch. 31

Aux In 1R

AVB 1 AUX In 1L

Aux In 1L

AVB 1

MonitorFX C FX D

Digital Patching

Input

Ch. 32

Analog 15

Aux In 2L

Aux In 2R

AVB 2

AVB 3

AVB 4

AVB 5

AVB 6

Ch. 2

Ch. 3

Ch. 4

Ch. 5

Ch. 6

Assigned Source Available Source

Ch. 31

Aux In 1R

AVB 1 AUX In 1L

Aux In 1L

Page 50

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

Patching AVB Sends

1. Press the Home button on your StudioLive Series III mixer.

2. Press the Audio Routing icon on the Touchscreen.

3. Press the Stagebox Setup button on the Touchscreen.

4. Press the AVB Inputs button.

5. Select Inputs 1-8 from the Input Streams list.

6. Select NSB 8.8: Send 1-8 (GC) from the Available Stream list to patch the ﬁrst eight NSB 8.8 Gain Compensated inputs to the ﬁrst eight AVB input streams on your mixer. For more information on Gain Compensation, please review the NSB-

series Owners manual.

Continue routing your AVB Streams to your mixer streams using the table at the beginning of Section 5.3 as your guide.

FX C FX D

FX A FX B

EFFECTS MASTER MASTER CONTROL

-2

-12

-24

-36

-48

-65

Ch 66Ch 77Ch 88Ch 9

Ch 10

Ch 1111Ch 1212Ch 13

MonitorFX C FX D

FX A FX B

Ch. 1

System Global Lockout Audio Routing

UtilsCapture

Talkback Edit

Voume 0.5 dB

Audio Routing

FX A FX B

AVB Input Streams

Audio Routing

Stagebox Setup

Digital Patching

Earmix Setup

Stagebox Setup

FX A FX B

AVB Inputs

Stagebox Setup

Preamp Permissions: All

Name: NSB 16.8

Output Stream: StudioLive 16: Send 41-48

Apply

NSB 16.8

NSB 8.8

StudioLive 24R

AVB Inputs

FX C FX D

FX A FX B

AVB Input Streams

Available StreamAssigned Stream

Input Streams

None

NSB 16.8: Send 9-16 (GC)

None

NSB 16.8: Send 9-16

NSB 8.8: Send 1-8None

None

Input 9-16

Input 17-24

Input 25-32

Input 33-40

Input 41-48

Input 49-56

NSB 8.8: Send 1-8 (GC)

StudioLive 24R: Send 1-8

StudioLive 24R: Send 9-16

StudioLive 24R: Sends 17-24

Input 1-8

AVB Input Streams

Available StreamAssigned Stream

NSB 8.8: Send 1-8 (GC)

NSB 16.8: Send 9-16 (GC)

None

NSB 16.8: Send 9-16

NSB 8.8: Send 1-8None

None

NSB 8.8: Send 1-8 (GC)

StudioLive 24R: Send 1-8

StudioLive 24R: Send 9-16

StudioLive 24R: Sends 17-24

NSB 8.8: Send 1-8 (GC)

Page 51

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

5.3.2 Routing the NSB-series Inputs to Your StudioLive 24R

For brevity, this section will only show the basic routing from the ﬁrst input to the NSB 8.8 to the StudioLive 24R. Channels from the NSB

16.8 as well as the StudioLive 24 (FOH) channels are routed in the

same manner. More information on StudioLive 24R as a monitor mixer, please review the StudioLive Series III Stagebox Mode Addendum.

1. Click on the AVB Inputs tab.

2. Next to Inputs 1-8, select NSB 8.8: Send 1-8 (GC) from the Available Stream drop-down menu. This will patch the eight inputs on your NSB 8.8 to channels 1-8 on your StudioLive 24R.

Continue routing your AVB Streams to your mixer streams using the table at the beginning of Section 5.3 as your guide.

Page 52

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

5.3.3 Routing Audio to the Console Mixers

In our example, we will be routing the audio sources as follows. For simplicity, we will be routing the audio sources the same on every mixer:

Mixer Channel Source Physical Input

Channel 1 Kick NSB 8.8 In 1

Channel 2 Snare NSB 8.8 In 2

Channel 3 High Hat NSB 8.8 In 3

Channel 4 Tom 1 NSB 8.8 In 4

Channel 5 Tom 2 NSB 8.8 In 5

Channel 6 Floor Tom NSB 8.8 In 6

Channel 7 Overhead Left NSB 8.8 In 7

Channel 8 Overhead Right NSB 8.8 In 8

Channel 9 Bass NSB 16.8 In 1

Channel 10 Lead Guitar NSB 16.8 In 2

Channel 11 Rhythm Guitar NSB 16.8 In 3

Channel 12 Acoustic Guitar NSB 16.8 In 4

Channel 13 Wireless Mic 1 (lead vocals) StudioLive 24R In 1

Channel 14 Wireless Mic 2 StudioLive 24R In 2

Channel 15 Wireless Mic 3 StudioLive 24R In 3

Channel 16 Wireless Mic 4 StudioLive 24R In 4

Channel 17 Backing Vocals 1 NSB 16.8 In 5

Channel 18 Backing Vocal 2 NSB 16.8 In 6

Channel 19 Keys 1 Left NSB 16.8 In 7

Channel 20 Keys 1 Right NSB 16.8 In 8

Channel 21 Keys 2 Left NSB 16.8 In 9

Channel 22 Key 2 Right NSB 16.8 In 10

Channel 23 DVD Left

StudioLive 24 (FOH)

Aux 1L

Channel 24 DVD Right

StudioLive 24 (FOH)

Aux 1R

Talkback Talkback

StudioLive 24 (FOH)

Talkback

Note: The DVD and Talkback will be routed to their default channels on the StudioLive 24 at Front-of-House. This will allow the FOH engineer to use their Talkback system as well as simplify the routing.

Page 53

5 Large Network: Real-world Example

5.3 Analog Input Connections

StudioLive™ Series III

AVB Networking Guide

Rerouting Sources in UC Surface

In our example, we are using the default settings for most audio routing. Because of this, we only need to reroute the four inputs on the StudioLive 24R to alternative channels so that these sources on are the same channels on every mixer. To do this, open the Digital Patching menu in UC Surface and navigate to the Input Patch screen.

From the Input Patch tab, select Analog to view your Analog sources and patch Inputs 1-4 to Channels 13-16 using the routing matrix.

Page 54

5 Large Network: Real-world Example

5.4 Analog Output Connections

StudioLive™ Series III

AVB Networking Guide

5.4 Analog Output Connections

For simplicity, the diagram below only shows the outputs that are being sourced from the network. Obviously, in a system as complex as the one used in this example, other local outputs would be put to use.

The ﬂoor wedges in our example are used as backup systems for the four EarMix 16M and are being fed independent mixes from the StudioLive 24R.

NSB 16.8 Stage Box Stage Right

Sub Matrix

Mains

(Left)

Mains

(Right)

Front Fill

Floor

Monitor 1

Floor

Monitor 2

Floor

Monitor 3

Floor

Monitor 4

5.4.1 Routing the Main Outputs

In Section 5.2.2, we routed AVB Sends 1-8 from the StudioLive 24 at Front-of-House to the NSB 16.8 on stage. In this section, we will be routing the appropriate mixes to each AVB Send as follows:

Mix AVB Send NSB 16.8 Output

Main Mix Left AVB Send 41 NSB 16.8 Out 1

Main Mix Right AVB Send 42 NSB 16.8 Out 2

Subgroup Matrix Mix

(Subgroup A)

AVB Send 43 NSB 16.8 Out 3

Front Fill

(FlexMix 1)

AVB Send 44 NSB 16.8 Out 4

1. From the StudioLive 24 at Front-of-House, open the Digital Patching screen and press the AVB Sends tab. For more information on Digital Patching, please

review the StudioLive Series III Owners Manual.

2. In the Inputs column, press AVB 41.

FX C FX D

FX A FX B

Input Source

Analog Outputs

Digital Patching

Input

Ch. 32

Analog 15

Aux In 2L

Aux In 2R

AVB 2

AVB 3

AVB 4

AVB 5

AVB 6

Ch. 2

Ch. 3

Ch. 4

Ch. 5

Ch. 6

Assigned Source Available Source

AVB Sends

USB Sends

SD Card/AES

Reset Sends

Master Reset

Ch. 31

Aux In 1R

AVB 1 AUX In 1L

Aux In 1L

AVB Sends

FX C FX D

FX A FX B

Input Source

Analog Outputs

Digital Patching

Input

Sub D

Analog 15

Solo L

Solo R

AVB 42

AVB 43

AVB 44

AVB 45

AVB 46

Mix 2

Mix 3

Mix 4

Mix 5

Mix 6

Assigned Source Available Source

AVB Sends

USB Sends

SD Card/AES

Reset Sends

Master Reset

Sub C

Main R

AVB 41 Main L

Main L

AVB 41

Page 55

5 Large Network: Real-world Example

5.4 Analog Output Connections

StudioLive™ Series III

AVB Networking Guide

3. Select the Available Source column and use the value encoder to scroll to

Main L.

Repeat Steps 1-3 to patch Main R, Sub A and FlexMix 1 to AVB Sends 42-44 respectively.

5.4.2 Routing Monitor Mixes

In Section 5.2.3, we routed AVB Sends 1-8 from the StudioLive 24R to the NSB 8.8 on stage. In this section, we will be routing the appropriate mixes to each AVB Send as follows:

Mix AVB Send NSB 8.8 Output

Monitor Mix 1

(FlexMix 1)

AVB Send 41 NSB 8.8 Out 1

Monitor Mix 2

(FlexMix 2)

AVB Send 42 NSB 8.8 Out 2

Monitor Mix 3

(FlexMix 3)

AVB Send 43 NSB 8.8 Out 3

Monitor Mix 4

(FlexMix 4)

AVB Send 44 NSB 8.8 Out 4

No additional set-up is required. By default, FlexMixes 1-4 are routed to AVB Sends 41-44.

Monitor

Digital Patching

Input

Sub D

Analog 15

Solo L

Solo R

AVB 42

AVB 43

AVB 44

AVB 45

AVB 46

Mix 2

Mix 3

Mix 4

Mix 5

Mix 6

Assigned Source Available Source

Sub C

Main R

AVB 41 Main L

Main L

Page 56

5 Large Network: Real-world Example

5.5 EarMix Setup

StudioLive™ Series III

AVB Networking Guide

5.5 EarMix Setup

In our example, all channels and mixes for all four EarMix 16M personal monitor mixers will be routed from the StudioLive 24R. We will be summing down the 25 channels to 16 channels as follows:

EarMix 16M Channel Instrument StudioLive 24R Source AVB Sends

Channel 1 Drum Mix L Flex Mix 5 StudioLive 24R Send 25

Channel 2 Drum Mix R Flex Mix 6 StudioLive 24R Send 26

Channel 3 Bass Channel 9 StudioLive 24R Send 27

Channel 4 Lead Guitar Channel 10 StudioLive 24R Send 28

Channel 5 Rhythm Guitar Channel 11 StudioLive 24R Send 29

Channel 6 Acoustic Guitar Channel 12 StudioLive 24R Send 30

Channel 7 Wireless Mic 1 (lead vocals) Channel 13 StudioLive 24R Send 31

Channel 8 Wireless Mic 2 Channel 14 StudioLive 24R Send 32

Channel 9 Wireless Mic 3 Channel 15 StudioLive 24R Send 33

Channel 10 Wireless Mic 4 Channel 16 StudioLive 24R Send 34

Channel 11 Backing Vocals 1 Channel 17 StudioLive 24R Send 35

Channel 12 Backing Vocal 2 Channel 18 StudioLive 24R Send 36

Channel 13 Keys 1 Left Channel 19 StudioLive 24R Send 37

Channel 14 Keys 1 Right Channel 20 StudioLive 24R Send 38

Channel 15 Keys 2 Left Channel 21 StudioLive 24R Send 39

Channel 16 Key 2 Right Channel 22 StudioLive 24R Send 40

5.5.1 Routing AVB Streams to Your EarMix 16M

From the EarMix Setup screen in UC Surface, route AVB Send 25-32 to 1-8 Source and AVB Send 33-40 to 9-16 Source for each EarMix 16M on the network.

Page 57

5 Large Network: Real-world Example

5.5 EarMix Setup

StudioLive™ Series III

AVB Networking Guide

5.5.2 Routing StudioLive 24R Sources to AVB Sends

The next step is to route the necessary channels and buses to the appropriate AVB sends using the Digital Patching menu in UC Surface.

From the AVB Sends tab, you will route the input channels and mixes to their respective AVB Sends as described in the table at the beginning of Section 5.5.

Page 58

© 2018 PreSonus Audio Electronics, Inc. All Rights Reserved. PreSonus, EarMix, and StudioLive are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Capture and Studio One are trademarks or registered trademarks of PreSonus Software Ltd. Mac and Mac OS are registered trademarks of Apple, Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in the U.S. and other countries. Other product names mentioned herein may be trademarks of their respective companies. All speciﬁcations subject to change without notice...except the recipe, which is a classic.

Added bonus: PreSonus’ previously Top Secret recipe for…

Jambalaya

Ingredients:

• 5 lbs link andouille sausage

• 3 lbs boneless chicken

• 2 lbs ground beef

• 3 lbs onions (yellow or purple)

• 2 stalks of celery

• 1 lb bell peppers (green or red)

• 1 batch green onions

• 3 lbs rice

• Tony Chachere’s Cajun Seasoning

• 1 bottle chicken stock concentrate (or 3 cubes chicken bullion)

• 1 can Rotel tomatoes with chilies, diced (regular hot)

• Tabasco sauce

Cooking Instructions:

1. In a 16 qt. pot or larger, slice link sausage and pan-fry until brown.

2. Add ground beef and brown.

3. Do not remove from pot Add diced onions, celery, and bell peppers, 1 can Rotel Original diced tomatoes with chilies, 3 oz concentrate chicken stock, ½ teaspoon of Cajun seasoning, 1 teaspoon of Tabasco hot sauce (or more…maybe lots more).

4. Cook until onions are translucent.

5. Add chicken and cook until it turns white.

6. Add diced green onions, 1 tsp. salt, ½ gallon water and bring to a boil.

7. Add rice and bring to a boil. Cook on high for 8 minutes, covered, stirring every 2 minutes

8. Cook covered on low for 10 minutes, stirring only once.

9. Turn oﬀ and let sit for 30 minutes.

10. Serve and enjoy!

Serves 20

Page 59

18011 Grand Bay Ct. • Baton Rouge, Louisiana 70809 USA• 1-225-216-7887

www.presonus.com

Part# 70-22000106-A

StudioLive™ Series III

AVB Networking Guide