Aviom A320 Personal Mixer
Aviom·Model A320·aviom-a320
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Aviom A320
The Aviom A320 is a 16-channel personal mixer using Aviom's proprietary A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. protocol, offering musicians hands-on control of their monitor mix. It has been a staple in worship and theater environments for years and works with any console that has an Aviom output card or a standalone A-Net distribution hub. The build quality and tactile controls make it feel more professional than budget alternatives.
The A320 is Aviom's mid-tier personal mixer in their A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. ecosystem — a desktop unit that gives a musician direct, hands-on control over their own monitor mix without tying up a console auxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send. or requiring an engineer to chase every 'more me' request. It pulls 16 channels of digital audio off a single Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. cable, lets the player blend and pan to taste through dedicated knobs and buttons, and sends stereo analog out to their IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter or wedgeA floor monitor speaker angled up at the performer — the thing IEMs replace, and the thing you fall back on when they die. amp. It is not a standalone device: it only works inside an Aviom A-Net signal chain, fed by a console with a compatible output card or an A-Net distribution hub.
Eight watts of draw and 0.8 kg mean the A320 asks almost nothing of your rig physically, but the A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. Thru port is where this unit earns its place in a larger setup — you can daisy-chain multiple A320s on a single Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. run, which keeps your cable count sane across a wide stage. The quarter-inch TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. stereo outputs are line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level., so they feed directly into a transmitter's line input without a DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. or preampThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. in between. Sixteen channels is enough for most working bands and theater pits; where it starts to feel tight is on large broadcast or festival stages where you want stemsSub-mixes of a session grouped by instrument (drums, keys, vocals) — how playback rigs run tracks with live control over each group., effects returns, and click all as discrete channels simultaneously.
The A320 belongs in a rig that is already committed to Aviom, or one being built from scratch around A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system.. It fits worship bands, theater productions, and club-touring acts where musicians want personal control and the production has a console with an Aviom card in place. If your console outputs DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. or MILANAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. rather than A-Net, you're looking at a bridge device before this becomes viable — at that point, competing personal mixer ecosystems built natively around those protocols may be a cleaner solve. Budget acts weighing cost should also know this is the $499 entry point into a proprietary ecosystem, so factor in the full chain cost before committing.
In the rack
- Run Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. or Cat6 for your A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. loop — standard Cat5 works but you'll have less headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. against interference on longer stage runs, and the upgrade costs almost nothing.
- The A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. Thru port lets you daisy-chain units, but plan your chain order intentionally: put the player who needs the most reliable signal (usually the drummer or musical director) closest to the hub, not at the tail of a long chain.
- The TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. outputs are line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. — confirm your IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter's input is set to line, not mic, before handing it to the musician, or you'll hand them a distorted mix and a very confused artist.
- The A320 is desktop-only out of the box; if a musician wants it rack-adjacent or fixed to a keyboard stand, Aviom and third-party brackets exist — worth sourcing before load-in rather than gaff-taping it to a stand on site.
A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. personal mixer, 16 channels. Desktop mount.
I/O Ports (4)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| A-Net In (RJ45) | RJ45 | input | digital audio | 16 |
| A-Net Thru (RJ45) | RJ45 | output | digital audio | 16 |
| Output L (TRS) | TRS QUARTER | output | analog audio | — |
| Output R (TRS) | TRS QUARTER | output | analog audio | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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Guides from our library that cover planning around personal mixer gear.
What an IEM rig actually is, the components that go into one, and how to plan your first one without overspending or blowing a circuit.
A plain-English plan for bands switching from floor wedges to in-ear monitors — what to buy, what to expect at the first rehearsal, and how to not hate it.
Step-by-step: linking aux buses into stereo pairs, pre-fader vs post-fader, routing buses to Ultranet vs physical XLRs vs AES50, and adding a bus-level limiter.
Aviom A-Net vs Behringer Ultranet vs Allen & Heath ME vs Klang Dante — the systems-thinking comparison, not the shopping list. Cabling, distances, console integration, and a decision tree.