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[Tim Halligan]

I realise it's still early days, but does anyone have any experience with the Midas DL32 in conjunction with the M32/X32?

Likes?

Dislikes?

Any pertinent thoughts?

Application will be live music in studio for broadcast...probably in conjunction with the Bear-ringer PM16 boxes.

Thanks in advance.

Cheers,
Tim

[Steve Garris]

I realise it's still early days, but does anyone have any experience with the Midas DL32 in conjunction with the M32/X32?

Likes?

Dislikes?

Any pertinent thoughts?

Application will be live music in studio for broadcast...probably in conjunction with the Bear-ringer PM16 boxes.

Thanks in advance.

Cheers,
Tim

Tim - there's a little bit of talk on this site:
http://cacophony.aspinock.com/index.php?PHPSESSID=fs53s3gur6ipcq8tgkq3ke7241&board=26.0

[Corey Scogin]

Tim - there's a little bit of talk on this site:
http://cacophony.aspinock.com/index.php?PHPSESSID=fs53s3gur6ipcq8tgkq3ke7241&board=26.0

Steve, that's a Mackie DL series mixer forum, not a Midas DL32 stage box forum.

[John Penkala]

I realise it's still early days, but does anyone have any experience with the Midas DL32 in conjunction with the M32/X32?

Likes?

Dislikes?

Any pertinent thoughts?

Application will be live music in studio for broadcast...probably in conjunction with the Bear-ringer PM16 boxes.

Thanks in advance.

Cheers,
Tim

Upon first glance, it looks like an S16 with actual Midas Pro Series pre's. If it is just that, then it will only work at 48k. Which for now, is fine because that's where the M32 operates. If I recall correctly, there was word/rumor that the M32 would be 96k capable in the future. I'm just wondering if these stage boxes will be able to work at 96K when the time comes.

-JP

[George Dougherty]

Upon first glance, it looks like an S16 with actual Midas Pro Series pre's. If it is just that, then it will only work at 48k. Which for now, is fine because that's where the M32 operates. If I recall correctly, there was word/rumor that the M32 would be 96k capable in the future. I'm just wondering if these stage boxes will be able to work at 96K when the time comes.

-JP

Very likely not.  AES50 does 48x48 at 48K and 24x24 at 96K.  With only one output channel, the box would have to drop to 24x16, possible, but I don't see anyone claiming these boxes will upgrade to 96K like they are the consoles. 

Quite frankly, I don't see the point of running an M32 at 96K.  It sounds decent enough as-is and losing the channel count for either AES50 routing or due to processing limitations doesn't sound like a good trade-off to me.  There are a number of A/B tests out there where people can't tell the difference with increased sampling rates on good converters anyway.  It may make sense for small channel count routing in the studio, but the i/o cards haven't been boasting 96K compatibility either, so you're stuck with AES50 and expensive hardware to get the signal into a computer.  Sounds like money best spent elsewhere in those scenarios.

[George Dougherty]

I realise it's still early days, but does anyone have any experience with the Midas DL32 in conjunction with the M32/X32?

Likes?

Dislikes?

Any pertinent thoughts?

Application will be live music in studio for broadcast...probably in conjunction with the Bear-ringer PM16 boxes.

Thanks in advance.

Cheers,
Tim

My only gripe is the 16 channels of ADAT out instead of expanding to 32.  It adds some potential flexibility for routing a digital split.  Everything else is a doubled up DL16 with AES/EBU nicely added on except for that glaring limitation.  Not a big deal to most, and likely won't keep me from picking one up, but it seems an odd oversight anyway.

[Steve Garris]

Steve, that's a Mackie DL series mixer forum, not a Midas DL32 stage box forum.

Ha! I missed the word Midas there....

[Danny Owens]

For me, I went with 2 DL-16's. I optimized it this way: I didn't want to wait for the DL 32 to be released. At 48k, the M32/DL16 sounds freaking sweet; I really don't care about the 96k. And, finally, I LOVE redundancy. If I have a DL32 and it fails, I'm screwed. If I have 2 DL16's, if one fails, I can still limp through a show fairly easily.

[Scott Wagner]

For me, I went with 2 DL-16's. I optimized it this way: I didn't want to wait for the DL 32 to be released. At 48k, the M32/DL16 sounds freaking sweet; I really don't care about the 96k. And, finally, I LOVE redundancy. If I have a DL32 and it fails, I'm screwed. If I have 2 DL16's, if one fails, I can still limp through a show fairly easily.

I like having two stage boxes (one on each side); however, the DL32 gives you one potential advantage over 2 DL16s: a pair of stereo AES/EBU (AES3) outputs. If your amplifiers (or powered speakers) have AES/EBU inputs, you can save a DA/AD conversion - which is always a good thing.

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