Let's talk high track count systems: 64-128+ tracks

[JCBigler]

Now that Protools allows up to 256 channels of audio input at the same time, what are the options for getting more than 64 channels into Protools?

HD Native tops out at 64 channels. HDX requires two cards or three cards, plus the requisite preamps or interfaces and converters. ASIO and Core Audio will allow up to 256 channels which could be over USB, Thunderbolt or Ethernet.

Dante, AVB, MADI, or Ravenna are the main options for dealing with high track count systems as they come off of a live sound console for recording live events that contain this many tracks.

What's out there, other than the RME MADIFace and DigiFace interfaces, the MOTU AVB interfaces, and the DAD Core 256?

And even then, what are the options for redundant recording? (Other than analog splits). Dante seems to be the easiest to deal with in terms of redundancy.

Bonus points for solutions that accommodate 96k.

[uptheoctave]

Originally Posted by JCBigler

Now that Protools allows up to 256 channels of audio input at the same time, what are the options for getting more than 64 channels into Protools?

HD Native tops out at 64 channels. HDX requires two cards or three cards, plus the requisite preamps or interfaces and converters. ASIO and Core Audio will allow up to 256 channels which could be over USB, Thunderbolt or Ethernet.

Dante, AVB, MADI, or Ravenna are the main options for dealing with high track count systems as they come off of a live sound console for recording live events that contain this many tracks.

What's out there, other than the RME MADIFace and DigiFace interfaces, the MOTU AVB interfaces, and the DAD Core 256?

And even then, what are the options for redundant recording? (Other than analog splits). Dante seems to be the easiest to deal with in terms of redundancy.

Bonus points for solutions that accommodate 96k.

All the latest gen DAD/Avid (Avid MTRX II, DAD AX64, AX Center, Core 256) support 256 channels over Thunderbolt. With those devices any of the other formats are as easy to manage as Dante, easier when it comes to managing SR changes actually.

I have 128 channels with HDX and 256 over Thunderbolt with the MTRX II.
I mostly use DADlink or MADI for inter-device connectivity, rather than Dante.

Splitting off to a second recorder is pretty simple, the split is done in DADman.
But Dante Controller works fine if just using Dante. Personally I think they are the best specified and most capable in this (high channel count) area, which is why I use them.

Focusrite REDnet PCIER card supports 128 channels but lacks all the Pro|Mon capabilities, routing, monitoring. I have one here and it is what I sometimes use for a safety recorder.

Focusrite Red 16 Line supports 64 channels of Thunderbolt or HDX, not both at the same time.
No such limitation with the Avid DAD boxes.

RME Digiface Dante supports 64 channels of Dante and MADI. They call it a 256 channel device so I guess they mean 128 channels of USB + 64 of Dante and 64 of MADI each. In my mind that makes it a 128 channel device but anyhoooo, loads of companies pad their IO count in this way. I wish they'd stop.

Prism Sound Dream ADA 128 is a high channel sound interface but last I looked at it they only allowed you to change routing in banks of 8, which seemed less than ideal. The platform looked to me to be less mature and configurable, but that may have changed.

Antelope do a few interfaces with high channel count.
Galaxy 64 Synergy Core comes to mind.

[Darryl Ramm]

If I had to run a high I/O count system my personal first choice would be an RME HDSPe MADI FX PCIe card set, 390 channels (reduced at higher clock rates obviously) of good old fashioned "just works" MADI. Beyond that the Avid/DAD boxes connected via Thunderbolt... Avid made a great move partnering with DAD.

[BScout]

MADI can be redundant if you have the right hardware (been doing it for years with RME routers and Euphonix routers plus mirroring on some RME interfaces.)

A little birdie tells me RME with have a new MADIface XT coming this year -- the "old" one has been out of production for a year now. To get to 96k and 256 inputs via MADI, you are going are going to need more than one interface but RME always supports 3 on one driver which would get you 288 input channels.

256 channels of analogue in is going to be pricey no matter how you look at it, if using any SMPTE rated (24 dB) converters. I'm regularly recording down high channel counts (192 and up -- using multiple HDX rigs previously) but most of it is digital inputs.

I also wonder if Avid ever actually tested it at 256 inputs going into record. There might be a delay going into record or a "stair-step" effect that makes the whole process an annoyance on one system. (I've encountered both when going to higher counts on systems "qualified" for high input counts.)
I'll test the MADIface XT x 3 system when I get a chance.

[Darryl Ramm]

Originally Posted by BScout

I'll test the MADIface XT x 3 system when I get a chance.

If you don't have time send to me and I'll test for you.

[GoButtonGuy]

Hey Justice, 128 tracks? I thought you wanted big I/O...

We're using a couple of the RME HDSPe cards. Works great in a Sonnet chassis as well. On this one the primary input backbone is MADI.

One of the tent shows is using a MADIface USB on a maxed out MBP M1 Ultra with all 128 chs on the interface. You can turn each port into a separate connection but you have to mix or adapt media.

Down the street I put in 3 Mac Pro rack mounts with HDx and the DAD/Matrix boxes. Plus a Mini using the S6L. Expensive but sexy.

The new shows are from the S6L or using Dante Virtual Soundcard depending on the app. Only 64 ch from DVS. For more tracks I'd use a Digiface Dante. It's solid, has a secondary net. From here on out that would be my go-to on a Dante rig.

For a hot, rolling spare there are a ton of options for either MADI or Dante.


Hope all is well,
Dave

[JCBigler]

Originally Posted by GoButtonGuy

Hey Justice, 128 tracks? I thought you wanted big I/O...

Hi Dave, great to hear from you. Might be out your way this summer. Taking the family on a road trip out west in June. Maybe we'll drop by for a show.

The theatre at which I do most of my recording work is going to be upgrading their console this summer. Probably going to Digico of some form and ~128 channel. Most of my symphony recordings are well below that mark, usually in the 40 or so range. But I want to be prepared to do full show recordings if necessary. They say they are going to retain some form of Dante connectivity, but in this case it seems that MADI will be the way to go.

It looks like RME is the most common solution to get there. I don't really want to go the HDX route unless I really have to. And if I do, then the HD MADI interfaces are probably the best solution anyway. My Focusrite Red 8 Pre and HD32R are the simplest and easiest solution to get 64 channels into Protools along with DVS as a back up recording (connected to a CL5 and a pair of RIOS). I know that whatever I do get for the next system will be larger, and more complicated. But hoping I can find a solution that is as close to elegant as the Focusrite system is currently.