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Post by enlav on Jul 19, 2021 18:40:16 GMT -6
Hey everyone. I hope you don't mind me reaching out again over another gear inquiry. (Thanks again all that contributed to the preamp discussion; happily rocking an GR MP2NV; saving up for a Chrome+ or RPQ2 for the next flavor)
I've been in audio interface limbo basically since the lockdown and I stopped doing freelance work out of project and commercial studios. Any higher count multi-track sessions are getting handled by an X32 Rack, which is cool for certain things, but leaves a bit lot to be desired regarding RTL performance and sound quality.
Really, my requirements are: 1) Initially 8 inputs, 8 outputs at least (no preamps required, though I won't turn down a few)
1a) expansion to at least 16-in, 24-out...
1b) ...through anything BUT ADAT over lightpipe.
2) Internal Routing/EQ/Dynamics for submixes/monitoring
3) Good RTL performance/stable drivers
4) Windows Support, and no thunderbolt (ridiculously old mobo, e5 2670 processor)
RME is always mentioned when it comes to rock-solid Windows drivers and good RTL performance, so I started my search there. The UFX+ seems like this magical product that lets me get what I need now but also gives me MADI expansion for the future. Is it that simple?
(warning: Tangent incoming)
I start thinking about MADI vs. ADAT (lightpipe). My issue with ADAT over lightpipe is that it has never felt as stable as I've been led to believe, but I'm also basing a lot of that over experience with a Scarlett 18i6 with a Behringer ADA8000; in hindsight, yeah, I'm sure I'll find some issues there.  Especially when the ADA8000 had to serve as master between the two... But I definitely found delays in the arrival of audio via octopre's and similar units to a Liquid Saffire 56 while using the LS56 as the master (syncing through ADAT). By the time I was working regularly in a studio that used an ISA 828 with optical outputs into whatever amalgamation of 192 and 96|IO's the owner had, I had basically learned to keep all phase-sensitive (not talking polarity in this case) microphones on one converter to avoid headaches down the road.
Maybe it all boils down to the clock/master. Maybe if I use an RME Digiface with equally good hardware, I won't have any headaches what so ever (outside of being really nervous about the lightpipe connector). Even if there is some discrepancy between the arrival time of audio comparing ADAT and "built-in" converters, the Digiface would be entirely ADAT, and hence... the experience should be consistent... right? Then reality hits and I remember I'd like to be able to record/mix in higher sampling rates. The digiface will be a 16in/out interface should I want to work permanently in 88.2 or 96kHz.
But while looking into that, I spotted two other products, the Ferrofish A32 and Antelope Orion 32+ (and some variations). Both of these seem like feasible options regarding functionality. Both are 32 in/out and have some DSP mixer options.
Well, the Ferrofish A32 promotes that it does, but judging by their site, it looks like you have to buy the ability to even sum channels into mixes... unless I'm reading something wrong. I'm guessing that maybe the Ferrofish products would be good for MADI expansion, but on their own... maybe not the product I'm looking for.
The Orion 32+ (without diving too deep into their catalogue) is probably the biggest competitor that I see - it has flexible routing, some "sexier" DSP effects, but I remember reading so many horror stories of driver issues when the original Orion 32 came out. I think a handful of users ended up using RME products between the Orion and their PC/mac to basically avoid having to deal with the drivers. Even if the drivers are better now, do they get similar latency performance compared to RME interfaces? (I'm also always hesitant when HARD ROCK aesthetics blend into my pro audio equipment; which isn't fair... I blame Steven Slate......)
On the other hand... I sort of like the idea of having some low latency effects and amp models built in the interface. It's like that sansamp plugin that Pro Tools has - it may not sound amazing, but it sounds good enough for those occasions when the bassist's cabinet/combo needs to be reconed. On PTHD sessions, it was really convenient being able to load that and the bomb factory 76 up just to get something in the ball park. Likewise, a processed sound can sometimes bring out a performance that an otherwise clean/transparent recording may not -- and I'm guessing some 76 and 2a emu's might help in that regard compared to the standard compressors loaded on RME's Totalmix FX. When I think about it more, if the effects on the Antelope interface are passable for monitoring, I may not need great latency specs.
(Tangent... over?)
So what do you all think? Is the UFX+ the way to go? Or am I living in a world of old comments on old message boards that no longer apply? Should I look more for some unbiased reviews on the Antelope interfaces?
Should I just go broke getting a new Mac mini and investing in an Apollo X16, or Pro Tools HDX system?
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Post by indiehouse on Jul 19, 2021 19:27:36 GMT -6
I’d consider Motu. 828es to start, expand with a 16a.
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Post by christopher on Jul 20, 2021 0:24:51 GMT -6
I’ve got an original fireface 400 I still use. I think it’s from late 90s? I got it used in 2006, I checked recently, it still sells on EBay for close to same price I got it 15 years ago! Everytime I think it’s time to retire it, it keeps working on new PCs and sounding as great as ever. It works on every Mac and PC I’ve ever owned. I don’t know about the new macs, I think yes.. it apparently works on new thunderbolt/USB-c by simply chaining two apple dongles. I do have scratchy TRS jacks.., RME even sells a TRS replacement kit for it! I mean.. what an awesome company. Sonically, you may or may not like the RME sound. It’s sharp, articulate, zero warmth, hifi and fast… not in a cheap way though. If I get rounder sounding converters I hope to keep the RME as a brain, the Total mix is great for tracking when you get used to it, even though my version doesn’t have built in effects.
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Post by theshea on Jul 20, 2021 3:31:05 GMT -6
I’ve got an original fireface 400 I still use. I think it’s from late 90s? I got it used in 2006, I checked recently, it still sells on EBay for close to same price I got it 15 years ago! Everytime I think it’s time to retire it, it keeps working on new PCs and sounding as great as ever. It works on every Mac and PC I’ve ever owned. I don’t know about the new macs, I think yes.. it apparently works on new thunderbolt/USB-c by simply chaining two apple dongles. I do have scratchy TRS jacks.., RME even sells a TRS replacement kit for it! I mean.. what an awesome company. Sonically, you may or may not like the RME sound. It’s sharp, articulate, zero warmth, hifi and fast… not in a cheap way though. If I get rounder sounding converters I hope to keep the RME as a brain, the Total mix is great for tracking when you get used to it, even though my version doesn’t have built in effects. haha, me too. bought my rme fireface 400 used some 7-8 years. musta been 15 years old by now. still working! |
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kcatthedog
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Post by kcatthedog on Jul 20, 2021 4:53:17 GMT -6
If you are demoing I’d recommend the Aurora N 8 module.
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Post by mrholmes on Jul 20, 2021 5:22:24 GMT -6
I’ve got an original fireface 400 I still use. I think it’s from late 90s? I got it used in 2006, I checked recently, it still sells on EBay for close to same price I got it 15 years ago! Everytime I think it’s time to retire it, it keeps working on new PCs and sounding as great as ever. It works on every Mac and PC I’ve ever owned. I don’t know about the new macs, I think yes.. it apparently works on new thunderbolt/USB-c by simply chaining two apple dongles. I do have scratchy TRS jacks.., RME even sells a TRS replacement kit for it! I mean.. what an awesome company. Sonically, you may or may not like the RME sound. It’s sharp, articulate, zero warmth, hifi and fast… not in a cheap way though. If I get rounder sounding converters I hope to keep the RME as a brain, the Total mix is great for tracking when you get used to it, even though my version doesn’t have built in effects.
So true mine was running from 2006 to 2020 only thing we did at RME was a one time recap. I sold my 400, and it's still running at a friend's place.
Now I use the 802, basically the same as the UFX with a few lesser specs, and it's the same thing again. It just works day in, day out.
The build in FXs are just basic, but they are good enough to make a player feel good during tracking with ZERO latency. IMO Motus sound even more sterile compared to RMEs.
In the long run, for me, it counts that they never let me down. Always top of the line with fresh drivers, super solid hardware build too.
I could gig Woodstock with an FireFace - build like a Tank.
For me, there is no other choice, even if other converters may have advantages in the analog path. A big plus for me was the discovery of the new preamps, which are clean and open, not noisy at all. They give a clean, pristine picture of what you record.
My first choice for all kind of stringed instruments.
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Post by Deleted on Jul 20, 2021 5:43:40 GMT -6
Ideal: RME PCI-E card out to whatever multichannel converter you want. SPL Madison is cool. Maybe a ferrofish or old Apogee on the cheap? You can pick up a great stereo DA for monitoring.
USB: RME just works. Steinberg AXR4 is nicer inside. No junky Chinesium in signal path.
Cheap option: MOTU 16a or used RME card to ferrofish. Motu drivers are a bitch to use and the usb on Windows is only average. Apogee Symphony Desktop lets me run bigger sessions
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Post by mrholmes on Jul 20, 2021 7:45:34 GMT -6
Ideal: RME PCI-E card out to whatever multichannel converter you want. SPL Madison is cool. Maybe a ferrofish or old Apogee on the cheap? You can pick up a great DA for monitoring. USB: RME just works. Steinberg AXR4 is nicer inside. No junky Chinesium in signal path. Cheap option: MOTU 16a or used RME card to ferrofish. Motu drivers are a bitch to use and the usb on Windows is only average. Apogee Symphony Desktop lets me run bigger sessions
I remember a Motu Driver nightmare.... never again I am happy for those which are happy.
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Post by enlav on Jul 20, 2021 8:05:00 GMT -6
Thanks for the responses guys. I feel certain that if I end up going RME, I should be good regarding stability/performance. Ideal: RME PCI-E card out to whatever multichannel converter you want. SPL Madison is cool. Maybe a ferrofish or old Apogee on the cheap? You can pick up a great DA for monitoring. USB: RME just works. Steinberg AXR4 is nicer inside. No junky Chinesium in signal path. I'll take a look at the AXR4 - I haven't been paying enough attention to product news so this one flew under my radar. The only issue is that I'd be limited to 16 out at 88.2/96kHz (assuming I'm only using the ADAT and analog outs).
As for PCI-E vs. USB - is it mostly the difference in performance between the two? Or is it more in the headspace of getting conversion elsewhere to taste?
You weren't kidding, old/used converters go pretty affordably after some looking. I think the only dilemma here is that if I insist on having DSP effects, I'd be looking at the HDSPe MADI FX, which introduces a higher initial price point and necessity for a separate converter on the get go.
If I went with any of the other PCI-E cards, whether ADAT/MADI, I could look into any of the Antelope options that have built-in DSP...
I'm leaning towards USB, if not simply for the fact I could go remote with whichever solution I end up with if need be (and no external chassis needed if I end up with a Mac or mac mini down the road).
There's the Madiface XT... but since I don't think I'd ever use all three MADI inputs.. The UFX+ is only a few hundred more expansive... and I could technically use the UFX+ as a glorified Madiface if I ever felt the internals of that unit weren't satisfactory (32 channels in and out at 88.2/96kHz)... Wait.. the "Split Mode" makes it sound like you can utilize both the coax and optical MADI inputs for 32 channels that I would guess run at 192kHz...
It seems like the UFX+ would allow allow benefit from the initial purchase but still have some options down the road for "upgrades."
I think I'm making progress here. 
Honestly, if Avid's Carbon could daisy-chain and ran on Windows, I'd pick convenience and just buy that, but apparently we're back in the year 2006 or something.
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Post by Deleted on Jul 20, 2021 8:59:52 GMT -6
Ideal: RME PCI-E card out to whatever multichannel converter you want. SPL Madison is cool. Maybe a ferrofish or old Apogee on the cheap? You can pick up a great DA for monitoring. USB: RME just works. Steinberg AXR4 is nicer inside. No junky Chinesium in signal path. Cheap option: MOTU 16a or used RME card to ferrofish. Motu drivers are a bitch to use and the usb on Windows is only average. Apogee Symphony Desktop lets me run bigger sessions
I remember a Motu Driver nightmare.... never again I am happy for those which are happy.
Motu drivers are hell not made by other people, as Satre said but a hell made by the mole men. They are not meant to be grasped by man. |
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Post by dreamsambas on Jul 20, 2021 9:09:00 GMT -6
Anybody have experience with the Presonus Quantum series? The 4848 one seems to offer a lot of bang for your buck.
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Post by Omicron9 on Jul 20, 2021 10:09:09 GMT -6
I had a UFX+ for 3 or 4 years; I just sold it last week. For a while on Mac/Tbolt; mostly on Windows/USB. Drivers are bulletproof; never a single issue. The only complaint I had about it was not with the UFX+ hardware, but with TotalMix, and the RME driver software interface. TotalMix was waaaaaaaay too complicated for my needs. Difficult to set up/maintain/change/update a simple monitor mix. If there was ever the garden-variety studio troubleshooting (the "no signal passing through channel X" kind of thing), I made the Kif groan (Futurama reference) every time I knew I had to dig into TotalMix. I kept the manual close by at all times. Not intuitive at all; at least for the way my brain works/doesn't work. Eventually it got maddening enough that I sold it. Too bad, because I did like the hardware. Quite a lot. I replaced the UFX+ with another Grace m108, about which I cannot say enough good things.
Regards,
-09
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Post by enlav on Jul 20, 2021 10:15:31 GMT -6
I've spent some time using a Studiolive at a project studio, which I imagine could sound very different to their current USB/TB interfaces; the result signal sounded a little darker than my Liquid Saffire at the time, but that could have been any number of things in the chain (room, source, so on).
I felt similarly when comparing the Studiolive to the A&H mixwizard in absolutely less than scientific/controlled parameters. I'm not really sure what improvements they've made in their interfaces, but if they're anything like their older blue-face plate USB interfaces, they're serviceable interfaces and these seem to take away a bit of the utility that their older 192 series had.
I'm only emphasizing the tone I remember from their other products because (If I'm looking at the right product) there doesn't seem to be a way to bypass the XMAX preamps, which may or may not be what contributed to the color I've heard in some of their past products.
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Post by christopher on Jul 20, 2021 11:08:21 GMT -6
I had a UFX+ for 3 or 4 years; I just sold it last week. For a while on Mac/Tbolt; mostly on Windows/USB. Drivers are bulletproof; never a single issue. The only complaint I had about it was not with the UFX+ hardware, but with TotalMix, and the RME driver software interface. TotalMix was waaaaaaaay too complicated for my needs. Difficult to set up/maintain/change/update a simple monitor mix. If there was ever the garden-variety studio troubleshooting (the "no signal passing through channel X" kind of thing), I made the Kif groan (Futurama reference) every time I knew I had to dig into TotalMix. I kept the manual close by at all times. Not intuitive at all; at least for the way my brain works/doesn't work. Eventually it got maddening enough that I sold it. Too bad, because I did like the hardware. Quite a lot. I replaced the UFX+ with another Grace m108, about which I cannot say enough good things. Regards, -09 That’s a good point for a new user. I’m used to it and now it’s very handy, but the whole idea was weird and frustrating the first million times. In the DAW you assign outputs to say 7/8.. but it won’t go straight out to 7/8. Instead there are sub faders in Total mix allows you to route it to any/all of the outputs. It works like a digital mixer in that when you click on an output fader, you see the mix sent to THAT fader.. could be inputs, daw outputs, panning. If you click another fader, you see a different mix. A zillion times it’s happened where I think I’m bringing up the input on the headphones out channels, but accidentally sending inputs to the monitor outs. But there is a default scene that is straight thru and works like other cards, (I used that for years) and you can save scenes for cue mixes. Total mix worked well recording live and having 4 cue sends. I’m also now so used to it, I’m on that screen quite a bit, great for checking phase and mono. |
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Post by enlav on Jul 20, 2021 11:21:15 GMT -6
(Sorry, missed Omicron's post while I was ranting about Presonus)
Point taken on Totalmix - If I end up going with the UFX+ or Digiface XT, I highly expect I'm going to spend a lot of time in Totalmix FX getting things right across multiple scenes. I'm sort of planning that having the extra I/O may hopefully allow me to keep certain pieces of gear plugged in constantly, whereas I imagine using the base unit by itself or a smaller RME unit may result in more time in Totalmix routing.
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Post by Omicron9 on Jul 20, 2021 13:18:15 GMT -6
I had a UFX+ for 3 or 4 years; I just sold it last week. For a while on Mac/Tbolt; mostly on Windows/USB. Drivers are bulletproof; never a single issue. The only complaint I had about it was not with the UFX+ hardware, but with TotalMix, and the RME driver software interface. TotalMix was waaaaaaaay too complicated for my needs. Difficult to set up/maintain/change/update a simple monitor mix. If there was ever the garden-variety studio troubleshooting (the "no signal passing through channel X" kind of thing), I made the Kif groan (Futurama reference) every time I knew I had to dig into TotalMix. I kept the manual close by at all times. Not intuitive at all; at least for the way my brain works/doesn't work. Eventually it got maddening enough that I sold it. Too bad, because I did like the hardware. Quite a lot. I replaced the UFX+ with another Grace m108, about which I cannot say enough good things. Regards, -09 That’s a good point for a new user. I’m used to it and now it’s very handy, but the whole idea was weird and frustrating the first million times. In the DAW you assign outputs to say 7/8.. but it won’t go straight out to 7/8. Instead there are sub faders in Total mix allows you to route it to any/all of the outputs. It works like a digital mixer in that when you click on an output fader, you see the mix sent to THAT fader.. could be inputs, daw outputs, panning. If you click another fader, you see a different mix. A zillion times it’s happened where I think I’m bringing up the input on the headphones out channels, but accidentally sending inputs to the monitor outs. But there is a default scene that is straight thru and works like other cards, (I used that for years) and you can save scenes for cue mixes. Total mix worked well recording live and having 4 cue sends. I’m also now so used to it, I’m on that screen quite a bit, great for checking phase and mono. Yeah. I'm not trying to talk it down really; just sharing my experience with it. As I said, I really did like the UFX+ in every other regard and never had a single issue with it. And it saw a lot of use. TM was way too complex for my simple needs and had a steep learning curve; at least for me. The complexity also means that it had many options and was quite flexible, but just far more than I needed to the point that it slowed me down and provided a recurring source of frustration. -09 |
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Post by BenjaminAshlin on Jul 20, 2021 17:35:10 GMT -6
That’s a good point for a new user. I’m used to it and now it’s very handy, but the whole idea was weird and frustrating the first million times. In the DAW you assign outputs to say 7/8.. but it won’t go straight out to 7/8. Instead there are sub faders in Total mix allows you to route it to any/all of the outputs. It works like a digital mixer in that when you click on an output fader, you see the mix sent to THAT fader.. could be inputs, daw outputs, panning. If you click another fader, you see a different mix. A zillion times it’s happened where I think I’m bringing up the input on the headphones out channels, but accidentally sending inputs to the monitor outs. But there is a default scene that is straight thru and works like other cards, (I used that for years) and you can save scenes for cue mixes. Total mix worked well recording live and having 4 cue sends. I’m also now so used to it, I’m on that screen quite a bit, great for checking phase and mono. Yeah. I'm not trying to talk it down really; just sharing my experience with it. As I said, I really did like the UFX+ in every other regard and never had a single issue with it. And it saw a lot of use. TM was way too complex for my simple needs and had a steep learning curve; at least for me. The complexity also means that it had many options and was quite flexible, but just far more than I needed to the point that it slowed me down and provided a recurring source of frustration. -09 Did you try the DAW mode? This makes it opperate like most other audio interfaces with just 2 rows and no submixing. www.rme-audio.de/totalmix-fx-daw-mode.htmlI think may people miss this mode which is a shame if you only need basic ins and outs into your daw. |
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Post by BenjaminAshlin on Jul 20, 2021 17:41:45 GMT -6
Ideal: RME PCI-E card out to whatever multichannel converter you want. SPL Madison is cool. Maybe a ferrofish or old Apogee on the cheap? You can pick up a great stereo DA for monitoring. USB: RME just works. Steinberg AXR4 is nicer inside. No junky Chinesium in signal path. Cheap option: MOTU 16a or used RME card to ferrofish. Motu drivers are a bitch to use and the usb on Windows is only average. Apogee Symphony Desktop lets me run bigger sessions At this point all interfaces are filled with Chinesium. |
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Post by Guitar on Jul 21, 2021 7:28:58 GMT -6
Anybody have experience with the Presonus Quantum series? The 4848 one seems to offer a lot of bang for your buck. I use a Presonus Quantum as my main interface, it's reliable and sounds good. Zero DSP, you do it all either in analog land, or inside the DAW. I don't use the DACs just the ADC. XMAX preamps don't get used either, I go direct to ADC. The drivers are solid and have 'just worked' for me. Use a 64 buffer for tracking, then a 2048 buffer for mixing or whatever, easy peasy. Bang for your buck is exactly what it is. |
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Post by Guitar on Jul 21, 2021 7:52:10 GMT -6
enlav, I would consider the RME HDSPe RayDAT interface, for a simple solution if you decide to either be stationary or rely on one computer. You might find a deal on one second hand, or you could import from Thomann if it's not a rush, good prices from them. For ADAT cables I would recommend the super thin, lightweight ones, not some big shielded rubbery thing. The more weightless they are, the better.
I like the MOTU USB interfaces but it's true what Dan said, the drivers are a bit hair raising sometimes when you're not sure if you're going to lose a take because of them. The M2/M4 series seem rock solid, but the MK5 Ultralite Cue Mix software feels a bit like a house of cards right now. I haven't used the AVB interfaces.
I dream of tasting the fruit of RME, I would personally dream of buying 2 or 3 HDSPe AIO Pro interfaces myself. Either in a Sonnet chassis or inside a strong computer. But the reality for me is the Quantum just works, and the MOTUs get the job done, more often than not.
For mobile I use a simple Sound Devices Mix Pre 6 most of the time.
It's fun to spend other peoples' money and fantasize about new gear. Curious what you will end up with.
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Post by enlav on Jul 21, 2021 9:57:42 GMT -6
(tangent) Yeah, the purely ADAT options seem enticing as heck considering that MADI capabilities on converters or other devices seem to shoot the price of any unit up a few hundred (spitballing numbers here); not to mention the used market opens up tremendously since I'm not only looking for MADI capable converters. There's so many factors at play, the more I start to feel confident in one aspect of a purchase decision, the more uncertainty picks up elsewhere. My main DAW/NLE workstation just started to show a weird consistent error on startup that forces me to boot manually from the OS SSD. Makes me think that maybe having things as USB would just be safer in case I need to to rely on the backup laptop. And as much as I want to future proof the rig in the case I end up moving back into OTB mixing, I've been really interested in following a few threads here that are discussing the differing importance of external summing and the potentially more vital following line amplification that come after. If there were ever some crazy test that could somehow measure the importance of multiple stages of amplification over the effects of analog summing (I realize, this is entirely subjective and any shootout would probably draw so many points of ire and speculation as to the fairness of such a test; but, bear with this for a moment), then it would seem much more beneficial to focus less on raw number of DA and more on units like the LTL Silverbullet or Chrome+. Of course, there's still some degree of outboard that I want to grab at some point in the future, and if I want some of these units to run while mixing, I'll still need some additional outputs... I just theoretically wouldn't need 24 to 32... At the moment, I'm leaning towards the UFX+ knowing I'll need to save up more for it. I've had some gear on order for a while now (paid in full, just waiting for the manufacturer to build), so in theory, I could get that refunded and just go straight in, but I feel like I may let time play out just so I can see if new products hit the market (or say, UA makes a new USB3 X16 and I go INSANE over the new possibilities that represents). I'm also trying to fight off the urge to get a lunchbox and all the opportunities that brings... ugh. |
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Post by ericn on Jul 22, 2021 21:27:55 GMT -6
Ideal: RME PCI-E card out to whatever multichannel converter you want. SPL Madison is cool. Maybe a ferrofish or old Apogee on the cheap? You can pick up a great stereo DA for monitoring. USB: RME just works. Steinberg AXR4 is nicer inside. No junky Chinesium in signal path. Cheap option: MOTU 16a or used RME card to ferrofish. Motu drivers are a bitch to use and the usb on Windows is only average. Apogee Symphony Desktop lets me run bigger sessions How about this RME to Panasonic WZad 96 and Weds 96? Yeah you are going to need To go Raydat, but it was Doug Sax who convinced me to go down that road. |
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Post by enlav on Jul 23, 2021 8:28:42 GMT -6
Today I learned Panasonic on their name on converters.
Pretty happy with the sound, Eric?
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Post by ericn on Jul 23, 2021 11:46:31 GMT -6
Today I learned Panasonic on their name on converters. Pretty happy with the sound, Eric? I was for years, first used them with a RAYDAT, works great but don’t clock via ADAT!! Than on a PT HD rig using digital I/O. Main reasons for going RADAR, the deal was just to good to pass up, far easier to go portable not needing 6 rack spaces for 24 I/O plus a computer. The RADAR is a bit warmer, but I miss the Panasonic from time to time. Another Sleeper is the Lucid 192 box. |
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Especially when the ADA8000 had to serve as master between the two... But I definitely found delays in the arrival of audio via octopre's and similar units to a Liquid Saffire 56 while using the LS56 as the master (syncing through ADAT). By the time I was working regularly in a studio that used an ISA 828 with optical outputs into whatever amalgamation of 192 and 96|IO's the owner had, I had basically learned to keep all phase-sensitive (not talking polarity in this case) microphones on one converter to avoid headaches down the road.
