View Full Version : Getting Audio from Yamaha M7CL-48 into ProTools LE?
08-27-2007, 01:49 PM
We're getting a Yamaha M7CL-48 digital console for FOH at our church. There are a number of digital I/O boxes available from Yamaha (ie. ADAT 16-channel IO), etc ... we have two slots left on the Yamaha, so we can potentially route 32 channels OUT of the I/O cards of the Yamaha ...
But I don't know how to get 32 simlutaneous digital tracks INTO ProTools - we have an Apple G5 we were doing to use at FOH to do some multi-tracking w/ ProTools, but all we have is a 002 and LE system.
Is there any way/configuration to accept 32 tracks digitally from the M7CL (and what config?), and what is required to get these INTO ProTools?
Thanks in advance,
08-27-2007, 06:34 PM
You cannot get 32 tracks into any version of Protools LE. You could get 8 channels into the 002 via an ADAT card, If the M7 has a SPDIF out, that can send 2 more channels, but the last 8 will have to go in via analog. Protools LE can not recieve more than 18 inputs per pass. You would probably be better off (if you need more than 18 inputs) going with Cubase and some Motu interfaces or maybe pile up some Firepods.
09-05-2007, 03:17 AM
A cost-effective way to record 32 channels from the M7 would be:
2 MY16AT cards in the M7 - 32 channels of ADAT I/O
M-Audio profire Lightbridge - again, 32 channels of ADAT I/O
Boom Recorder - Excellent field recorder type software, will do up to 64 channels.
Import recorded wav files into protools.
09-10-2007, 10:20 PM
I've had great success using an Alesis HD24 to record, then pulling the drive caddy and transferring to Protools via the Firepod interface. Only issue is one is 24 tracks, and buying a second one for 8 tracks seems a little overkill.
Yup, this is the way to go. To make things super solid and sexy, I'd add an external house clock like a Mytek or Apogee Big Ben to clock console/interfaces from.
For mixdown, you'll likely need to have either the MP or DV toolkit: at 32 tracks, you're at maximum voice count for LE.
09-29-2007, 05:13 PM
You can successfully use the M7 to record any number of inputs to 24 or even 18 tracks. You just have to do some sub-mixing on the fly. There are 16 mix busses on the M7 that can be routed to any of the 16 omni-outs or any of the card slot outputs. Configure the sends as post fade and set the channel's send at unity. Cue the send to check your balance.
Right, however since this is also a FOH console, I'm gonna guess that the OP will have enough on his plate mixing the services: if this console is any indication, the size of worship team/choir/band/orchestra could be considerable...and consider this: he may also be doing monitors from FOH as well! Direct out routing of the inputs via the cards to the interface for later mixdown in post is the way to go...unless submixing already factors into the equation. (as you might be able to tell, I'm a DCA/VCA guy)
10-01-2007, 02:40 PM
You make some very good points, Kooz. Operating a recording rig while doing a live mix, foh or mons is a complete compromise. It's one of those "we had to burn down the village in order to save it" situations. I'd suggest a 2-track recording rig over the stereo bus, OR hire some splits, another console and recorder and have it done properly. But having said that, the OP is still going to do it, for better or worse. As you say, the mic up could be considerable so it is likely that he won't have enough record inputs for every console input, especially once you add atmos and audience mics. I can guarantee that submixing is going to be a necessity. It's all about compromise. Just make those sends post-fader and he won't have to do a seperate balance.
Exactly, a split to another dedicated recording set-up would be the best (along with another operator), but the original question was how to get 32 channels of lightpipe out of the console into PT.
Having been forced to do this myself (too many times to count, unfortunately), I realize that some submixing will be required. But it's not often in a worship service that all 48 console inputs are in use simultaneously, so my thinking is that some careful output routing/track assignment will allow the operator to hit record, and then attend to the job of mixing the service...until they have to remix it from tracks.
Would you agree?
10-05-2007, 06:08 PM
Totally agree, kooz.
The way I see it, fmckinnon's options for 32 inputs to protools are:
1. Buy other interfaces, track in logic or DP etc and import track into protools
2. Buy a HD system
3. Mpowered 7.1 and Profire lightbridge.
Earlier in this thread you concurred that an Alesis HD24 was the way to go. I would second this, or a Mackie HDR (not a Fostex though, the disk format is proprietry, transfers are a pain in the *****). Still, it's only 24 tracks. Bulletproof, though. My preferred option.
How about three ADAT's, or DA88's? you can pick them up cheap these days. Transfer 8 tracks at a time into the 002.
All of the above options require more dollars. Don't forget to add the cost of the 2 cards for the yamaha. I guess I'm just a pragmatist, I would not be spending any money just yet and seeing how you go with 18 inputs. Bussing tracks down just requires some thoughful routing setup (I can post a Studio Manager file if anyone is interested). It is just as "set and forget" as discrete outputs for every track.
No, I didn't. I concurred w/ you that 2 ADAT cards for the console, a lightbridge into Boom recorder was the way to go. Follow the thread, Chris. Our conversation has included diversions into submixing and type of recording (I call the style proposed "diaper recording": catch it all in one place and wrap it all up and throw it out after the fact), but I never mentioned any of the other products you just did.
Perhaps we can agree that there may be some added costs above the purchase of the console to achieve whatever the goal is in this audio system. (interesting you have assumed they already have an external ADAT interface as well as a SPDIF interface for 18 track capture direct to PT...I don't seem to recall one in the OP). If they're spending that much on a new console, a few more kilobux isn't a big stretch, especially if the congregation (and/or the board/committees) is happy with the result.
I suppose a little bit of background from fmckinnon about what the ultimate goal is, or what they're trying to accomplish would help. It's too bad that they haven't jumped in on our conversation to offer more perspective. Does he really need to get a 32 track capture, or will the mix from the console into 2 of the inputs on the oo2 do the trick? Or possibly somewhere in between?
10-12-2007, 08:27 PM
Follow the thread, Chris. Our conversation has included diversions into submixing and type of recording (I call the style proposed "diaper recording": catch it all in one place and wrap it all up and throw it out after the fact), but I never mentioned any of the other products you just did.
You waited three days and then edited your post to make it sound more snippy? Sheesh...
If you can't pull a mix on a few tracks that need to be submixed you really have no place behind a console.
interesting you have assumed they already have an external ADAT interface and SPDIF inteface to maximize a oo2 capture direct to PT...I don't seem to recall one in the OP
Yep, my bad. I assumed they had an ADAT card. SPDIF is taken from the AES output with a 20dB T-pad inline.
08-07-2010, 10:22 AM
Can some one summarize in laymen's language what I really need.
2) Digi 002
3) Profire 2626
What does Profire light bridge do? Do I need MY16AT? In addition to light brigge - does this add 16 more "aux" out via firewir
12-16-2010, 09:04 PM
If this thread is being revived, allow me to add another alternative that works well for me:
M7CL with Dante MY16-AUD cards (http://www.yamahaproaudio.com/products/interfaces/ygdai_cards/dante_my16_aud/index.html), networked to DAW with Dante's Virtual Soundcard (http://www.audinate.com/index.php?option=com_content&view=article&id=235) (license included with MY16-AUD card). With two Dante cards, I move 32 tracks over ethernet to a Mac running Logic. Logic sees the audio I/O devices created by the virtual soundcard driver. No firewire, no lightpipe, no hassles.
I take direct outs from the channels I want and route them to the card slot/channel. I set up two scenes that focus exclusively on input routing, one with all the live inputs, and one that pulls the Dante audio back to the same channel from which they are recorded. Now I can flip from record to playback with a simple scene recall and run a virtual soundcheck.
12-17-2010, 08:45 AM
With the release of PT9 and the new feature of 32 inputs, get lightpipe output cards for the M7 and patch them into an M-Audio Light Bridge or Presonus Firestudio Lightpipe.
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