I backed into a sweet monitor mix setup. Primary interface is an M-Audio 2626 w 2 Behr ADA8000s on ADAT ports. The hardware DSP mixer is an 18x16 config, with a stereo master pair, and 7 stereo submix sends. Twoadvantages to doing monitors this way, one, zero latency no matter how hard I push the DAW, and two, saving and reloading the entire monitor mix setup.
Problem was Senn hi impedance phones, 280s and 380s, and not enough volume in the cans. I put a Samson S-phone headphone mixer/amp in, which has a 6x8 I/O configuration, (in stereo pairs for a 3x4 phone mix). This gives me all the volume I'll ever need, and significant flexibility as well.
By setting up 3 different monitor mixes on the 2626 DSP mixer, I can feed the 3 stereo Samson inputs, and from the Samson, blend these 3 mixes 4 different ways for 4 different artists. That leaves the 4 remaining DSPmixes available for use as hardware effects sends, 4 additional headphone mixes, or any combination thereof.
Master outs from the 2626 feed any or all of a pair of Resolv 80As, HS50Ms, Eurolive S1220 stage monitors, or an Altec Lansing 2.1 system w sub, in different rooms, for A/B/C/D testing.
If stacking multiple multiplex units in this manner, I highly recommend taking the time to diagram everything in a clear, legible way, as signal routing complexities get real deep real fast. I use two diagrams, one for the Samson headphone mixer inputs, and one for the patchbay, which includes all the 2626 and FX I/O, and so far I haven't yet had to hunt for signals in any situation encountered to
date.