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LS9 16


Chris Adam

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Quick question:

 

Would I be able to add 16 channels of audio to the LS9 16, even though it only has one expansion card slot?

I can see on the website that there is a 16 in / out AES card, but I'm struggling to get much detail. Their site isn't the easiest to browse. Does this take it in / out as analogue on the d-subs, and convert to digital in the board?

 

All help much appreciated, and merry christmas to all.

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Quick question:

 

Would I be able to add 16 channels of audio to the LS9 16, even though it only has one expansion card slot?

I can see on the website that there is a 16 in / out AES card, but I'm struggling to get much detail. Their site isn't the easiest to browse. Does this take it in / out as analogue on the d-subs, and convert to digital in the board?

 

All help much appreciated, and merry christmas to all.

 

 

Yes The MY16AD I think is the model of card. I use focusrite ocropre 2 preamps with mine and find them to work very well. warm it up a bit aswell.

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Yes is the basic answer to this question. It does take it in as analogue and convert to digital. However I will say that the one time I used these I found the reaction a little slow.

 

This is incorrect. The MY16-AE AES card is digital in and out, as are all the 16ch MY cards. You need to use external AD convertors and mic pres.

 

There are lots of options, ranging from using the MY16-AT ADAT card with Behringer ADA8000 mic pres on the low end, to using the Riedel RN.341.MY card with a couple of RN.301.MI mic input modules, or the similar Optocore soultions on the high end. There are many alternatives utilizing Ethersound or Cobranet as well as other protocols.

 

The Riedel and Optocore solutions have remote control mic pres that will work just like internal mic pres as far as control.

 

All the cards that include AD conversion are 8ch only and line level only.

 

Mac

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Hmm, this is pretty interesting. So noticable latency with the AES card? Thats not so good. Might be worth a chat with yamaha about that, but as it's line level only, I'm stumped anyway.

 

The option with the behringer pre's is interesting. (ucghhh I hear you cry), but this is for a simple in ear monitoring solution and I could bung all the basic channels like over heads and click etc down these and keep the 16 standard IPs for where it matters. Not that the LS9 pre amps sounds that fab anyway.

 

I'll look into it, but any further info would be much appreciated. Yamaha boards aren't my strong point at all.

 

Thanks all.

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Hmm, this is pretty interesting. So noticable latency with the AES card? Thats not so good. Might be worth a chat with yamaha about that, but as it's line level only, I'm stumped anyway.

 

The option with the behringer pre's is interesting. (ucghhh I hear you cry), but this is for a simple in ear monitoring solution and I could bung all the basic channels like over heads and click etc down these and keep the 16 standard IPs for where it matters. Not that the LS9 pre amps sounds that fab anyway.

 

I'll look into it, but any further info would be much appreciated. Yamaha boards aren't my strong point at all.

 

Thanks all.

 

Who are you responding to? It would be a lot more clear if you include a quote of the text you are answering.

 

There is no apparent latency in an AES card since there is no conversion. It is only digital in and digital out. There is no line level audio involved. There are of course tiny amounts of latency added by every digital process in a digital console. To get analog audio in and out of a 16ch digital card, whether it is AES, ADAT, TDIF, Ethersound, Cobranet, Optocore, Rocknet, or any other digital protocol, you need external mic pres and AD converters.

 

The cheap way is an MY16-AT ADAT card in the console, and one or two of any number of external 8ch mic pres that have built in AD conversion and ADAT digital outs. I doubt there is an appreciable difference between the really cheap boxes like the Behringer at about $25US/ch and the next step up at about $50US/ch. In the world of mic pres, those are both bottom of the barrel price points. Things may start to get better above the $100/ch level, and high end preamps are more like $300/ch and up.

 

If you are using external mic pres with AD conversion and digital outs, be sure to get them that also have either a return audio path so they can get their clock signal from the console, or a Wordclock input so they can get their clock from the console. There can only be 1 clock source in a system where you are connecting multiple digital devices.

 

How did you separate the LS9 preamps from the rest of the console to determine they don't sound good? When you are listening to the full circuit path of the console there is no way to judge which part is causing any issues.

 

Mac

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I have two MY-16-AT cards in my DM1000 and a total of up to 4 Behringer ADA8000 mic pre/ADAT units. The mic pre amps get noticeably noisy when pushed above about 3/4 gain but before that they are fine. I tend to use the DM1000 internal pre amps for any critical (or just low level) stuff and the Behringers for other things.

 

No, it doesn't sound like a set of Cadac pre amps but it works--and has worked reliably for about 7 years now.

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Cheers bobbsy and Mac.

 

Seems I have the wrong end of the stick about the AES card. It's a no go for that one anyway, so not an issue.

 

I've had a wee look at the behringer pres and they'll be ideal. It's ridiculously cheap, but will get my artist exactly what they need. If all goes well, I can upgrade for them at any point I guess. The card is pretty cheap as well.

 

Thanks again for the suggestions. Shopping list complete.

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