RBIngraham wrote:Sorry I still say, 8 DCAs is very shortsighted and a silly omission or error in judgement based on nothing more than the fact these companies don't give a shit about the theatre market, with a few exceptions. Either they don't care or they are not smart enough to ask what we need. And so yes, I am bitter about that. And will continue to bitch until someone actually listens and serves my part of the industry.
This reminds me of DF over on the other forum who continuously bashed Yamaha because he was trying to use an 01V for live sound. The 01V is designed specifically for home studio, and it only has 12 mic inputs by design. Even Yamaha recommended not using it for live sound. But DF didn't get that Yamaha made other products designed to meet his requirements.
I'm not intimately familiar with the software of the S3L or Venue line (other than what shows up by default on the surface of the Venue and it's more than adequate 8 DCAs), but I believe you can route buses to additional input "groups" on the Venue as you can in Pro Tools, similar to a true analog audio group, in addition to the DCAs ... to get you more than 8 total. Perhaps as many as you could possibly want. One could certainly argue the superiority of an audio group over a DCA.
So if you really want that info, I would point you to the DUC. I may post a similar question myself since I need to ask another question re: Pro Tools. In Pro Tools, the number of "groups" (aka sub-masters) is limited only by the number of output buses. I opened a project with 24 last week.
Soundguy