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[Craig Hauber]

Obviously, you'll still have the X32 limit on DSP channel count, i.e., 32 full DSP channels, plus auxes.

Which often times people don't realize that you can use stagebox inputs for those aux channels too.  Especially when you are running an M32c which has no useful i/O.   When you have filled the mixer with 32ch of XLR mic inputs you still can use the aux inputs for cascading another mixer via aes50 as well as a couple stereo playback lines without using up any of those primary 32.
I have a selection of 32's and 16's and often a 16 will end up at FOH for playback, VOG and cue.  The core usually lives on the stage and I'm only running remote control at FOH. 
Lately I'm starting to use Dante instead for the FOH I/O that way it can all run down a single network line and avoid the fussiness of dealing with 300' of aes50

[Russell Ault]

{...} AES-wise I think you can have 64 inputs and outputs {...}

Per the spec, AES50 will carry 48 channels of audio at 44.1 or 48k in each direction per link, or at multiples of those sample rates with a commensurate reduction in channel-count (much like MADI).

-Russ

[Alec Spence]

AES-wise I think you can have 64 inputs and outputs so you can run a DL32 and a DL16 or 2 DL32s or 4 DL16s or throw in a DL8, etc but you cant assign more than 38 ins - 32 regular channels, 6 aux channels (that can be assigned to a stagebox) and there are 2 aux channels that are always the USB. And you can assign 16 outs of 25 mix busses - up to 16 regular busses, 6 matrices and Mono + L/R.

Incorrect - and detailed correctly a few posts earlier.  48 input channels per AES50 link so, with enough stageboxes, up to 96 inputs plus local inputs.  Obviously with the limit of DSP channels.

[Dan Mortensen]

Which often times people don't realize that you can use stagebox inputs for those aux channels too.  Especially when you are running an M32c which has no useful i/O.   When you have filled the mixer with 32ch of XLR mic inputs you still can use the aux inputs for cascading another mixer via aes50 as well as a couple stereo playback lines without using up any of those primary 32.

Thanks, Craig, I've kind of forgotten about this, although I think you've named almost the only uses for this ability, given that you have no Dynamics and other diminished control on those channels, although they're fine for those purposes.

Regarding the channel count, the X and M series consoles use one version of AES50 (SuperMax or something like that) which maxes out at 48kHz sampling rate and 48 channels each way (which is why you can have 32 split channels and 16 Mixbuses sent between 2 connected consoles, although only that still leaves 16 unused channels going one direction--not sure why they did that, although I confess I'm having trouble right now keeping this straight in my head -- long day), while the upper version is HyperMax or something like that, which has a higher channel count (not sure what that is, don't have any consoles that use it --they're the Pro series and I presume whatever's replaced that) and 96kHz sampling rate, maybe higher now.

That's enough for now to differentiate between the two versions.

Not sure where the Wing fits in, I believe others here can help on that.

I guess Jeff and I will have to throw down out back...

Ice cream cones at 20 paces!

[Russell Ault]

{...} while the upper version is HyperMax {...}

You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

[Helge A Bentsen]

You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

Midas uses HyperMac on some larger consoles to carry several AES50-connections over single cat or fibre cable.

[Dan Mortensen]

You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

Thanks, yes, you're right, it's SuperMac and HyperMac (I prefer the weird capitalization to be optional).

As pointed out by Helge, Midas uses the HyperMac in their larger consoles; I thought it was in all the consoles that can handle 96kHz sampling rate?

There was a paper by Midas describing the two formats and their differences, which I don't have on this computer and don't have time this week to look up.

One thing I was wondering and sort of alluded to: The X/M consoles' AES 50 can carry 48 audio channels each way. Is there any combination of use circumstances that uses that channel count to full capacity both ways? I can't think of any.

[Russell Ault]

{...} One thing I was wondering and sort of alluded to: The X/M consoles' AES 50 can carry 48 audio channels each way. Is there any combination of use circumstances that uses that channel count to full capacity both ways? I can't think of any.

Given that you can route 32 channels of bidirectional audio directly between the card slot and an AES50 port (in addition to the DSP and any local I/O), I think the answer to this is "technically yes, but why?".

-Russ

[Douglas R. Allen]

You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

Not sure who to answer to but here is a rundown on AES HyperMAC and SuperMAC.

MAC's

Cable requirements have changed through the years so it is good to note that. 

Douglas R. Allen

[Dwayne Aasberg]

Great info at that link Douglas, thx.

Cable requirements have changed through the years so it is good to note that. 

Can you point me to documentation of those physical cables specs?

Thx, D.

[ProSoundWeb Community]