Mixers/Consoles LS9-16 with expansion card ADAT expansion card

[hcproductions]

I had a question for everyone,

I have an LS9-16 channel board, 16 ins 8 outs, and a sound designer coming in wants to add the MY16-AT ADAT expansion card. He also wants an RME Fireface 800 to interface with the card. I get the flow from the 1-8 ADAT out and 9-16 ADAT out from the Card into the board, but how do I have access to those 16 outputs from the ADAT card? Do I have to buy a separate breakout to go from the ADAT outs to analog to get them to my amps? Or can I go back into the RME Fireface card and use those 8 additional outputs from that? Thanks for the help,

 

[themuzicman]

I don't understand your question fully -- my assumption is that you want 16 channels of playback via your Fireface800, and are using the card to expand the I/O of your console from 16x8 into a 32x24 system. If the FireFace is indeed for playback, and NOT for extra outputs, you will simply run the outputs from your computer via FireWire into the Fireface, and then run two optical cables, one from the ADAT OUT 1 into the MY-16AT ADAT 1 input, and one from FireFace ADAT OUT 2 into the My16-AT ADAT 2 input.

If you are using the MY-16AT to have more outputs and NOT playback, you will run a single optical cable from the MY-16AT OUTPUT 1 into the FireFace800 ADAT 1 INPUT. This in turn will give you access to 8 analog outputs.

Make sure you change the Wordclock on your console FROM internal TO ADAT.

 

[hcproductions]

I'll clarify the question a little bit. I'm a little confused as to the signal flow operations of the set up. Our sound designer has an Ableton Playback Mac with 16 outputs of playback. He also has about 10 Mics to use in the analog inputs on the board. The 16 playback channels on the Ableton playback computer goes to firewire into the RME Fireface. From there, I have the 16 outputs of the ADAT 1 and 2 out go into the LS9 with the MY16-AT card. So from the board, I now have 32 channels into it. I guess then, my question is, how do I utilize all 24 channels of output from the board and get that to my amps? Or can I only have 16 outputs since I have 8 analog outs on the board and then go back into the RME fireface to get the 8 additional analog outputs, which only gives me 16 total? Do I have to buy some other kind of breakout box to get us the other 8 outs? Sorry for the dumbed down version, I've never used this system before and I want to make sure we get it right since we are spending all this money! Thanks

 

[lakota651]

With the addition of the RME your console with have 24in and 16 out of analogue IO. However, if you are using all 16 sends from the computer you will have the use of the RME analogue input. The 8 outputs can still be used though. If you are in need of an additional 8 outputs, you will have to get another ADAT DAC or an analogue output card for the LS9.

Is the sound designer really in need of 24 discreet outputs?

 

[themuzicman]

Is the sound designer really in need of 24 discreet outputs?

That's not an unusual request for most shows, an average show for me these days has around 30-50 discreet outputs, less when I do a musical but I make up for that in the matrixing via my outboard where I can easily triple that number. However when you're tethered to an LS9 that has a very fixed routing architecture I wonder what he plans on doing with all of the outputs, as you are going to inevitably end up using almost all of the gained outputs as nothing but Direct Outs.

 

[chausman]

What do you use so many outputs for?


Sent from my iPad using Tapatalk HD

 

[themuzicman]

A lot of speakers, for example the show I'm working on right now has a 4 box hang for L/R, 2 box hang for Center Cluster, 3 rows of 3 speakers for delays, hung with 3 rows of 3 speakers for SFX in the alternate rows the delays are above, 4 speakers a side for surround FX, 4 speakers in the rear for rear FX, 2 onstage subs, 2 under-audience subs, and 4 speakers around the stage for foldback and also sourced SFX -- and all of that is just off the top of my head. Some of these things, like the individual delay rows are a single discreet output from the console, hitting an XTA for processing of the individual boxes, some things like the SFX delays, Mains, and Center Cluster are each a discreet output that will either hit a matrix in the console or can be treated as discreet outputs. It's for a two week workshop in a 200 seat theater...

The last musical I did in the fall had over 120 speakers, probably 60 outputs because we had three Galileos doing outboard processing, each can take in 8 outputs and spit out 16 outputs. I don't know the specifics of the routing because I was just supervising the department and not actually designing or running the show.