# Behringer ADA 8200



## chimuelo (Apr 30, 2015)

Never a big fan of Behringer audio gear, but that changed with the X32.

Got an ADAT card to go along with it and it was purchased for live performance, but I base most purchases with dual purposes in mind.

For really clean vocals the Ferrofish A16 MKII is tough to beat, much more presence than the ADA 8200 Behringer, but recently discovered the best use for the ADA 8200
is synths over driving it's 1/4" inputs, then sent out via ADAT.

If you are using desktop modules like Blofeld, Phatty or even Studio Electronics tubby little boxes, this cheap converter is perfect for running synths into your DAW.

Use a +6db XLR Adapter or a DI, anything to boost your signals and then ADAT out to the soundcard/mixer/DAW.

225 USD for synth I/Os is a steal.


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## Hannes_F (Apr 30, 2015)

I used a Behringer ADA 8000 for a while, that was a sleeper. Clean good preamps, certainly not worse than most mixers, good enough for everything except main mics. However that unit had a notorious temperature problem and eventually broke. Hopefully that is fixed with the newer model.


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## Gerhard Westphalen (Apr 30, 2015)

+1 for the ADA8000. I've heard that the 8200 has nice preamps for the price.


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## Guy Rowland (Apr 30, 2015)

Have the 8200 - very happy with it plugged into my Babyface. And it runs cool


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## chimuelo (Apr 30, 2015)

I was going to mod ours with this kit, but hearing about the A32 Ferrofish put a stop to anything using ADAT or mic pres.

Check it out, I have seen some of their mods and most are really nice with a fair price considering the amount of engineering they do.

http://blacklionaudio.com/product/behringer-ada8200-mods/ (http://blacklionaudio.com/product/behri ... 8200-mods/)


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## wst3 (Apr 30, 2015)

keeping in mind that a lot of this is personal taste, and that personal biases do play a part...

I'd put the ADA8200 a slight step below the Frontier Design Tango24 in terms of audio quality. Given that you can no longer buy a new Tango24 that may not be a fair comparison. And the ADA8200 sells for less now than the Tango24 sold for when it was new.

Anything that uses Lightpipe for an interface is limited to 48kHz sample rate, which I don't think matters as much as sometimes suggested. If you want 96 kHz sample rate you cut the channel count in half, and not every interface supports that mode of operation.

When I upgrade my studio converters I will go with some form of Ethernet interface - I really like AVB but I just don't see the market acceptance. Dante, on the other hand, is setting the world on fire!

I currently have a Symetrix Radius in the studio, and it sounds great, and it took all of about a minute to set it up and integrate it into my rig.

Almost all the major players now offer some level of support for Dante... Focusrite has Rednet - which is basically Dante, Symetrix, BSS, Biamp, Rane, Lectrosonics, and Yamaha all support Dante, and most if not all of them offer breakout boxes.

Dante remains pricey because of the licensing for the hardware required to be Dante... but I see that dropping in the near future. Remember, you heard it here first<G>!


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## JT3_Jon (Apr 30, 2015)

I'm actually looking into an ADAT capable mic pre to expand my Apollo. This will mainly be used for band rehearsal and possibly feed in ear monitors on stage; not for recording. This looks like the most cost effective way to go, or are there other choices?


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## wst3 (Apr 30, 2015)

I hate to sound like a snob, but plugging the ADA8200 into an Apollo is like, well, can't think of a good metaphor, but the Apollo converters will be noticeably better than the Behringer. Depending on your application that may not matter.

I'd consider using the Behringer for line level inputs or cue sends, but not for critical inputs or monitoring. But that's me... Your take may be different.

FWIW, I should be replacing my Presonus 1818VSL with an Apollo in June. I expect I will hear a slight improvement, maybe even more than slight, but my main reason is access to the UAD plugins on the inputs, that sounds really useful.


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## Hannes_F (Apr 30, 2015)

Bill, out of interest: did you ever actually use the ADA8000/8200 or is this based on the name/specs?

I wouldn't use them for main mics and also not for monitoring too, that is because I have better (well, at least much more expensive) preamps and converters (but a limited number of them) and the output of the ADA8000 is not as good as the input. However I know they have been used even for main mics for classical orchestra and nobody noticed.

When it comes to the category of 'clean inputs' then blind tests are a hard challenge for the pricier units


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## JT3_Jon (Apr 30, 2015)

wst3 @ Thu Apr 30 said:


> I hate to sound like a snob, but plugging the ADA8200 into an Apollo is like, well, can't think of a good metaphor, but the Apollo converters will be noticeably better than the Behringer. Depending on your application that may not matter.
> 
> I'd consider using the Behringer for line level inputs or cue sends, but not for critical inputs or monitoring.



Yep, I 100% agree! I wouldn't be buying it for actual recording duties as I dont need many live inputs for recording. This would only be to expand the apollo for live performance, and even then it would be used for nonessential parts (i.e. backing vocals or possibly micing a guitar cab, or using the line inputs for synths, etc.) I'm hopeful it would at least be good enough in this capacity? Maybe users can chime in further on the mic pre's, or are you all just using them for line inputs? 

I've really just begun researching a live performance system, and looking for a decent expansion as a single apollo alone is not enough inputs unfortunately. I like the idea of having those wonderful UAD plugins that I'm using on the album anyway available for live performance (vocal compression and reverb mainly). But I do not have much experience in live sound so maybe this isn't the way to go? I was also looking into a MOTU Traveler, but it seems overkill for my needs (just looking for really more mic pre's that output into ADAT to connect to the apollo). Part of me is a bit worried a unit like this Behringer for $200 is "too good to be true," though it seems the quality has gone up in units like these recently so perhaps I have no need to fear?

Hopefully I didn't go to far off topic but I appreciate the feedback and suggestions.


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## wst3 (Apr 30, 2015)

Hannes_F @ Thu Apr 30 said:


> Bill, out of interest: did you ever actually use the ADA8000/8200 or is this based on the name/specs?



I have used both the 8000 and the 8200, although neither one extensively. In my limited tests I preferred the Tango24, as well as other higher priced converters. The difference, for line level inputs, was not so great that I would not buy one for 8 more line inputs. The outputs were also suitable for cue mixes. I did not like the microphone preamplifiers at all, I thought they clipped far too easily, and in general sounded anemic - but there you go trying to describe sound with words - never terribly useful.

I do own test equipment, and sometimes I do make measurements, but in this case I did not feel it was necessary.



Hannes_F said:


> When it comes to the category of 'clean inputs' then blind tests are a hard challenge for the pricier units



Blind tests for transparency are difficult, that's where good test equipment comes in handy. But on the flip side of the question, there are so many factors we simply do not know how to measure or quantify, so those tests are equally frustrating!

I think the most telling thing is that a $200 mod on a $200 converter exists... and that it apparently makes a difference<G>!


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## Hannes_F (Apr 30, 2015)

wst3 @ Thu Apr 30 said:


> Blind tests for transparency are difficult, that's where good test equipment comes in handy.



I see. I tested them against my 'money channels' which have D.A.V. Broadhurst Gardens preamps and RME converters - and while I could assume to hear a difference I was never quite sure whether this was more wishful thinking than anything else (I'm just honest, perhaps I shouldn't). Perhaps because I did not need much gain (35 dB). Anyways compared to that switching the rosin brand for my instruments made a much bigger difference, easily identifiable ...

My biggest gripe with the ADA8000 was the build quality. One of the TOSlink sockets was so loose that I needed to fix the cable with tape - and even then it easily slipped out. And it lasted only 2 years and a few days ... broke just when the warranty was over


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## wst3 (Apr 30, 2015)

AHA!

Changing the Rosin on your bow will, I suspect, always make a bigger difference than you'll find between two different electronics gizmos that are supposed to do the same thing. The same is true of changing the brand or even just compound of strings for my guitars. Heck, changing the strings makes a huge difference.

For the most part, any device in the affordable range is a small variation (if any) on the reference design provided by the chip manufacturer. Sad, but the reality is few manufacturers can afford the time required to do something really new and different.

As an example, I spent almost a year designing a headphone amplifier for a personal monitor mixer. Still don't know why they gave me that much time, but I'm grateful, because I'm really happy with the way it turned out.

But for the most part that reference design is going to get you 80% of the way there, and in a market that has come to be mostly about commodity that's good enough. Which is sad, but on the other hand there are still small shops that will introduce the next innovations.

I do confess, I am a bit surprised that the difference between the RME converters and the ADA8000 wasn't more pronounced. But I still would not expect it to be as big a deal as new guitar strings or a different brand of rosin or reeds.

The build quality of the ADA8000 was probably my biggest concern as well. As I said, I would be happy with it as a line level input device as far as sound quality goes. But I didn't trust that it would hold up.

I have three Frontier Design Tango converters, I think the first is probably over ten years old, can't even remember when I bought it. I did eventually have to replace the power supply capacitors, and I just shotgunned the other two since I had one of them apart, but everything else is still working, and I expect I will retire them long before they fail.

And that is worth a lot to me. I would rather purchase one box and use it for 10 years than buy one box every couple of years, even if the every couple of years approach cost less. There is a price for annoyance<G>!


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## Astronaut FX (Apr 30, 2015)

I have one that I've been using solely to add 8 more line level sources to my interface. For that purpose, it's working just fine. I would agree that I probably won't put a lot of trust in using the preamps/ADA conversion. I'll allow my interface to handle that.

But if you need a simply yet cheap way to add some more line level sources, it's the right tool for the job.


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## Ryan (May 1, 2015)

Well, I don't know much about the ada8000-ada8200, But I would rather buy a second hand apogee- or rme converter. That way you also cover the other needs into the future (if you plan to change the way you work)
you could pick up a used apogee AD-16X for 300-400$. Price when released was 3000-4000$ per unit. Even the old RME AE/PRO DD converters are very good. 

My 2 cent is: Think future, not short term needs.


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## wst3 (May 1, 2015)

Ryan's suggestion is an excellent one! I did not realize that the AD-16X was such a cost effective solution these days.

The AD-16X sounds great. AND, it has four ADAT outputs, so it can operate in S/Mux mode, which is a great compliment to the UAD Apollo, which I know was mentioned somewhere in this thread.

I think the combination of the 8 Apollo inputs and 8 inputs from the AD-16x would be a pretty potent combo.

If you want all 16 inputs you'll need a second ADAT compatible input, and if you want all 16 inputs at 96kHz you'll need an input device that handles that.

Unfortunately, that's going to add to the price tag. The only two I know of are the "RME HDSPe RayDAT" and the Lynx LS-ADAT, but that only has 2 inputs, so you only get 8 more channels at 96 kHz.


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## Astronaut FX (May 1, 2015)

Ryan @ Fri May 01 said:


> Well, I don't know much about the ada8000-ada8200, But I would rather buy a second hand apogee- or rme converter. That way you also cover the other needs into the future (if you plan to change the way you work)
> you could pick up a used apogee AD-16X for 300-400$. Price when released was 3000-4000$ per unit. Even the old RME AE/PRO DD converters are very good.
> 
> My 2 cent is: Think future, not short term needs.



I'm not following this, as the unit you're recommending isn't an apples to apples comparison from a configuration standpoint. The ADA8200 has 8 inputs (line or mic level) and can be connected via optical cable to your primary interface to add 8 additional inputs that will show up as 8 additional channels in your DAW.

The AD-16X (at least the pictures I saw of it) does not have the same input layout as the AD8200, so how could you use it the same way without needing something additional?

Not trying to be argumentative, just trying to understand how the unit you suggested could be used in the same manner as the unit being discussed.


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## Hannes_F (May 1, 2015)

... and the used AD-16X that I see at ebay are more like USD 800. Add 100 for a breakout cable. If somebody wants to get rid of his for 300$ then toss them to my direction, please


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## wst3 (May 1, 2015)

Hannes_F @ Fri May 01 said:


> ... and the used AD-16X that I see at ebay are more like USD 800. Add 100 for a breakout cable. If somebody wants to get rid of his for 300$ then toss them to my direction, please



you beat me to it Hannes!


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## wst3 (May 1, 2015)

Tone Deaf @ Fri May 01 said:


> I'm not following this, as the unit you're recommending isn't an apples to apples comparison from a configuration standpoint. The ADA8200 has 8 inputs (line or mic level) and can be connected via optical cable to your primary interface to add 8 additional inputs that will show up as 8 additional channels in your DAW.
> 
> The AD-16X (at least the pictures I saw of it) does not have the same input layout as the AD8200, so how could you use it the same way without needing something additional?
> 
> Not trying to be argumentative, just trying to understand how the unit you suggested could be used in the same manner as the unit being discussed.



"It Depends"...

The AD8200 has 8 analog inputs, 8 analog outputs, and one each ADAT inputs and outputs.

The AD-16X has 16 analog inputs, and four ADAT outputs. It is only an analog to digital converter, but it is a very well regarded converter. Among other things, it uses an interface called "S/Mux" that allow you to work with sample rates higher than the 48 kHz limit imposed by Lightpipe.

If you only want/need 8 inputs then the AD-16X will have 8 unused inputs, but you can add an additional ADAT input card later if you so desire.

Hopefully that clears it up...


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## Astronaut FX (May 1, 2015)

wst3 @ Fri May 01 said:


> Tone Deaf @ Fri May 01 said:
> 
> 
> > I'm not following this, as the unit you're recommending isn't an apples to apples comparison from a configuration standpoint. The ADA8200 has 8 inputs (line or mic level) and can be connected via optical cable to your primary interface to add 8 additional inputs that will show up as 8 additional channels in your DAW.
> ...



Somewhat clears it up. It would still require some sort of additional device in order to connect those inputs, right? I don't see any line level or mic level inputs on the pictures I found. So a breakout cable or something would be required, right?


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## Ryan (May 1, 2015)

Tone Deaf @ 1/5/2015 said:


> wst3 @ Fri May 01 said:
> 
> 
> > Tone Deaf @ Fri May 01 said:
> ...



Forget those "mic" levels. You don't need them at all. Everything could be changed inside the computer. Those line/mic levels are just to get some hands on, but you don't need that... Yes, you need a breakout cable (xlr or tri/jack). 

Best
Ryan


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## Ryan (May 1, 2015)

Hannes_F @ 1/5/2015 said:


> ... and the used AD-16X that I see at ebay are more like USD 800. Add 100 for a breakout cable. If somebody wants to get rid of his for 300$ then toss them to my direction, please



Well. I don't use eBay. We have other sites around in Scandinavia. Right now, there is a listing on an Apogee AD-16x for around 3500 NOK, that's $464.

It's a bloody no brainer! Some people on Gearslutz have done a few testing. And a lot of them say it holds up with their newer range of Symphonies. Some even delivered their symphonies back and kept their AD-16x's...


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## chimuelo (May 2, 2015)

ADA on the 8200 is fine for synths.
That was why I mentioned it as I A/B'd it next to the Ferrofish and was happy that I won't waste the Ferrofish on dirty analogs. It needs to be used on vocals and cabinet mic's now.

JT you would be happy to expand your I/Os live with this. 
I believe it was designed for this.

It looks like I am going to be jumping into a touring gig where I can use lots of old racked up gear.
So I tested the 8200 out on my synth rack where 2 x SE-1s, a Marathon MiniMoog Series D, EML-101 and a pair of V Synths with various cards collects dust.

Mic Pre's allow you to buzz up the sound before the conversion which is great for anything live other than lead vocals.
Afterall we want our synths and mic'd cabinets a little dirty, unless of course you are doing smooth jazz. Then you'll need tons of delays and vast cavernous sounds of a hardware lexicon.
We like it tight and dirty.


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