Forgive my digital noobness,
I've been looking at digital boards in this price range 3500 or so
and was wondering what boards might be comparable. I track and mix to
the HDR and have been using an analogue board for some time, but i
figure its time to move on.

I like the way the D8B looks and functions (seamlessly with the HDR
according to mackie), but was interested in at least comparing to the
Yamaha boards and am open to different brands as well before I buy.

Im sure this might have been covered in the past, so any input or
links to discussions would be helpful. -I need recommendations as I'm
on a limited budget and my wife has ultimate approval- I want
something that has some effects as my outboard gear is very limited
and wouldnt need to record more than 12 at a time. pop/rock music
(4-5 piece band)

A few questions too: Does the Yamaha 01V have the capability to play
back 24 channels from the HDR or is it limited to 8?

thanks in advance
Kid, project studio apprentice

Forgive my digital noobness,
I've been looking at digital boards in this price range 3500 or so
and was wondering what boards might be comparable. I track and mix to
the HDR and have been using an analogue board for some time, but i
figure its time to move on.

I would check out the newer offerings from Yamaha, Tascam,etc. D8B is not going
to 96 I don't think.


John A. Chiara
SOS Recording Studio
Live Sound Inc.
Albany, NY
www.sosrecording.net
518-449-1637

The D8B is still the best I've seen in terms of functionality/price. I really
wouldn't have anything else. The new software revision is great. I dont think
they would still be developing the D8B if they werent going to come out with
the next generation based on the same OS. Time will tell but even without 96k
it's a great console.

Dave Weber
Airtime

In article
(Fishroad) writes:
The D8B is still the best I've seen in terms of functionality/price. I really
wouldn't have anything else. The new software revision is great. I dont think
they would still be developing the D8B if they werent going to come out with
the next generation based on the same OS. Time will tell but even without 96k
it's a great console.

Dave Weber
Airtime

There are some advantages to the D8B that no other digital board provides, the
main one for me is the ability to store hundreds of sessions on an internal
hard drive. There's no MIDI dumps or loading sessions from outside and
everything comes up ready to work on another session in seconds. No external
computer is necessary.

The latest OS release has continued the improvement of the GUI and overall I
still really like the D8B, which we've run 24/7 since 1999. You should, of
course, be aware that it is nearing the end of its production life and support
may not continue at the current level. But if it does what you need, it's
still a good value, especially at the current price.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ----x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x-------- http://ccrma-www.stanford.edu/~jay/ ----------x

"Jay Kadis" wrote in message
...
In article
(Fishroad) writes:
The D8B is still the best I've seen in terms of functionality/price. I
really
wouldn't have anything else. The new software revision is great. I dont
think
they would still be developing the D8B if they werent going to come out
with
the next generation based on the same OS. Time will tell but even
without 96k
it's a great console.

Dave Weber
Airtime

There are some advantages to the D8B that no other digital board provides,
the
main one for me is the ability to store hundreds of sessions on an
internal
hard drive. There's no MIDI dumps or loading sessions from outside and
everything comes up ready to work on another session in seconds. No
external
computer is necessary.

The latest OS release has continued the improvement of the GUI and overall
I
still really like the D8B, which we've run 24/7 since 1999. You should,
of
course, be aware that it is nearing the end of its production life and
support
may not continue at the current level. But if it does what you need, it's
still a good value, especially at the current price.



I've never used one, but there are many who say it sounds inferior to other
comparably priced digital consoles.


Steve Holt
INNER MUSIC
Music Creation & Production
http://www.inner-music.com
http://www.cdbaby.com/cd/steveholt

In article "Steve Holt"
writes:
[snip]

I've never used one, but there are many who say it sounds inferior to other
comparably priced digital consoles.


Steve Holt
INNER MUSIC
Music Creation & Production
http://www.inner-music.com
http://www.cdbaby.com/cd/steveholt



Maybe, but with the Apogee clock card it has met my needs just fine. Check out
any of the CDs from the last 5 years on my web page if you want to hear what it
sounds like (including my RAP/5 contribution). The sound has improved with
several of the OS updates to the point where I have no complaints with its
sound.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ----x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x-------- http://ccrma-www.stanford.edu/~jay/ ----------x

(kid) wrote in message . com...
A few questions too: Does the Yamaha 01V have the capability to play
back 24 channels from the HDR or is it limited to 8?

thanks in advance
Kid, project studio apprentice

The 01v with ADAT option will take in 8 digital channels of lightpipe
and 16 channels analog. THe new 01v96 does more, but I don't recall
how much - maybe 16 ADAT channels standard. As much as I like my 01v,
I don't think I'd consider it in the same league as a D8B.

Mikey
Nova Music Productions

panasonic DA7 is about $2000-

In article writes:

panasonic DA7 is about $2000-

Today you can only get a used one. Price is whatever the buyer will
offer, if the seller will accept it. And like all digital consoles,
there are options - I/O cards and meter bridge for instance, that have
value. As I recall, during its last gasp, one could be had with 24
channels of ADAT Lightpipe I/O cards and a meter bridge for $1,995 but
that deal is long gone.

If you knew you were buying a used console for which the seller only
paid $2,000, would you pay $2,000 for it?




--
I'm really Mike Rivers - )

Thank you very much,
A lot of good information here and I hope to continue to benefit from
everyone's expertise.

Kid

(kid)
I like the way the D8B looks and functions (seamlessly with the HDR
according to mackie), but was interested in at least comparing to the
Yamaha boards and am open to different brands as well before I buy.

If you might want to use your HDR at 96 or 88.2 the Mackie D8B isn't
the best idea. I picked up a Tascam DM24 cheap, and so far I like it. It's
32x8, comes with 3 TDIF and one ADAT DIO, as well as spdif, aes-ebu and 2 slots
for other options (Mine came with an extra ADAT card, but I have a Otari UFC
format converter so I can go lightpipe to TDIF anyway.) It also has transport
controls for your recorders, supports the various surround formats, has
internal effects by TC Works & Tascam, has moving fader automation, syncs to
smpte/miditimecode and it will do HUI emulation.

The DM24 will do 12 channels of 24/96 over DIO which matches my Mackie
SDR well. And the refurbished units that Guitar Center had were going for like
$1500, although even up to the usual $2375 (some Sam Ash's have blowouts at $2k
or so) it's a good buy and cheaper than the D8B. Musician's Friend *might* have
some refurbs...


Will Miho
NY Music & TV Audio Guy
Fox And Friends/Fox News
"The large print giveth and the small print taketh away..." Tom Waits

In article znr1065006375k@trad, says...

In article writes:

panasonic DA7 is about $2000-

Today you can only get a used one. Price is whatever the buyer will
offer, if the seller will accept it. And like all digital consoles,
there are options - I/O cards and meter bridge for instance, that have
value. As I recall, during its last gasp, one could be had with 24
channels of ADAT Lightpipe I/O cards and a meter bridge for $1,995 but
that deal is long gone.

If you knew you were buying a used console for which the seller only
paid $2,000, would you pay $2,000 for it?

Why not, if it's worth at least $2,000 on today's market?

jim andrews
basset sound
austin, tx

In article znr1065006375k@trad, says...

In article writes:

panasonic DA7 is about $2000-

Today you can only get a used one. Price is whatever the buyer will
offer, if the seller will accept it. And like all digital consoles,
there are options - I/O cards and meter bridge for instance, that have
value. As I recall, during its last gasp, one could be had with 24
channels of ADAT Lightpipe I/O cards and a meter bridge for $1,995 but
that deal is long gone.

If you knew you were buying a used console for which the seller only
paid $2,000, would you pay $2,000 for it?

Why not, if it's worth at least $2,000 on today's market?

jim andrews
basset sound
austin, tx

In article MPG.19e54183fcd62f46989d77@news-server writes:

If you knew you were buying a used console for which the seller only
paid $2,000, would you pay $2,000 for it?

Why not, if it's worth at least $2,000 on today's market?

Pride. Nobody wants to admit that they paid as much for a used one as
they could have paid for a new one.

Of course this breaks down when there's some reason (good or dumb,
both happen) for a unit to increase in value. A guitar can be worth
much more than its new cost if someone famous played one. A microphone
with a very special reputation can cost more than it did new because
there are a limited number available. The part about limited number
available might apply to the DA7 console, but it hasn't achieved that
magic "vintage" status that makes its value increase for no technical
reason. And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.
As far as I know, there's no Randy Blevins or Paul Wolff or Geoff
Tanner of Panasonic who can keep your DA7 going for another 20 years.



--
I'm really Mike Rivers - )

In article MPG.19e54183fcd62f46989d77@news-server writes:

If you knew you were buying a used console for which the seller only
paid $2,000, would you pay $2,000 for it?

Why not, if it's worth at least $2,000 on today's market?

Pride. Nobody wants to admit that they paid as much for a used one as
they could have paid for a new one.

Of course this breaks down when there's some reason (good or dumb,
both happen) for a unit to increase in value. A guitar can be worth
much more than its new cost if someone famous played one. A microphone
with a very special reputation can cost more than it did new because
there are a limited number available. The part about limited number
available might apply to the DA7 console, but it hasn't achieved that
magic "vintage" status that makes its value increase for no technical
reason. And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.
As far as I know, there's no Randy Blevins or Paul Wolff or Geoff
Tanner of Panasonic who can keep your DA7 going for another 20 years.



--
I'm really Mike Rivers - )

"Mike Rivers" wrote in message
news:znr1065093778k@trad...
And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.


And they are...?

Steve Holt
INNER MUSIC
Music Creation & Production
http://www.inner-music.com
http://www.cdbaby.com/cd/steveholt

"Mike Rivers" wrote in message
news:znr1065093778k@trad...
And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.


And they are...?

Steve Holt
INNER MUSIC
Music Creation & Production
http://www.inner-music.com
http://www.cdbaby.com/cd/steveholt

Tascam DM24 IMBO. (biased opinion) Patric

Steve Holt wrote:

"Mike Rivers" wrote in message
news:znr1065093778k@trad...
And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.

And they are...?

Steve Holt
INNER MUSIC
Music Creation & Production
http://www.inner-music.com
http://www.cdbaby.com/cd/steveholt

Tascam DM24 IMBO. (biased opinion) Patric

Steve Holt wrote:

"Mike Rivers" wrote in message
news:znr1065093778k@trad...
And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.

And they are...?

Steve Holt
INNER MUSIC
Music Creation & Production
http://www.inner-music.com
http://www.cdbaby.com/cd/steveholt

In article Patric D'Eimon writes:
Tascam DM24 IMBO. (biased opinion) Patric

Steve Holt wrote:

"Mike Rivers" wrote in message
news:znr1065093778k@trad...
And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.

And they are...?


Having both, I'd say the DM-24 is nice for the price, but it isn't as
convenient to use as the D8B: you are continually saving and loading sessions
to/from external computer. There are many more limitations on routing on the
DM-24 as well. Having mixed the same song on both a couple of times, I still
prefer the D8B.


-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ----x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x-------- http://ccrma-www.stanford.edu/~jay/ ----------x

In article Patric D'Eimon writes:
Tascam DM24 IMBO. (biased opinion) Patric

Steve Holt wrote:

"Mike Rivers" wrote in message
news:znr1065093778k@trad...
And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.

And they are...?


Having both, I'd say the DM-24 is nice for the price, but it isn't as
convenient to use as the D8B: you are continually saving and loading sessions
to/from external computer. There are many more limitations on routing on the
DM-24 as well. Having mixed the same song on both a couple of times, I still
prefer the D8B.


-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ----x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x-------- http://ccrma-www.stanford.edu/~jay/ ----------x

In article writes:

And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.


And they are...?

Well, you got me there. I expected a chorus of "get a Y or a T or an S
or even a B" but when you come right down to it, the d8b is in a class
by itself. It has more usable inputs than anything short of a Sony
DMX-R100 or Yamaha DM2000, and those are the only ones of the lot that
have as many faders. But everything else can do 96 kHz, and none have
been around for as long as the d8b so all the bugs and kinks haven't
been discovered yet.

So like microphones, no two are enough alike that you can chose
between them based on any single parameter. You have to decide what's
important to you. I guess that anyone who grew up mixing with a mouse
would be happy with a 16-fader digital console. Anyone growing up with
a 16-channel (or larger) analog console would probably want more
faders. And nobody buying a console today wants to be limited to
48 kHz for very long.

So I guess if it floats your boat and costs less than your boat, it's
the one to get.



--
I'm really Mike Rivers - )

In article writes:

And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.


And they are...?

Well, you got me there. I expected a chorus of "get a Y or a T or an S
or even a B" but when you come right down to it, the d8b is in a class
by itself. It has more usable inputs than anything short of a Sony
DMX-R100 or Yamaha DM2000, and those are the only ones of the lot that
have as many faders. But everything else can do 96 kHz, and none have
been around for as long as the d8b so all the bugs and kinks haven't
been discovered yet.

So like microphones, no two are enough alike that you can chose
between them based on any single parameter. You have to decide what's
important to you. I guess that anyone who grew up mixing with a mouse
would be happy with a 16-fader digital console. Anyone growing up with
a 16-channel (or larger) analog console would probably want more
faders. And nobody buying a console today wants to be limited to
48 kHz for very long.

So I guess if it floats your boat and costs less than your boat, it's
the one to get.



--
I'm really Mike Rivers - )

I have the dm-24. I looked at (lusted after the d8b but the $8000. difference went a long
way towards floating my boat. I must work in a different way and at a different level than
Jay because I just don't run up against limitations using the DM-24.

So once again it is about which tool works for which job. I'm very thankful a mixer as
comprehensive as the Tascam exists for $1999. I wonder if the $8000 extra would feel like it
was worth it if I had to pony it up now.

Just for reference, I'm using DM-24, DP 4.1, 2408II, 1ghz G4 all connected w/ TDIF. I also
have a G3 beige with OASYS and a Tascam 822 card (soon Mach 5) and a PC running Gigsmplr,
Cool Edit 2k, ACID and Snd Frg also with a Tascam 822 card so everything can be hooked to the
DM-24 through TDIF. It makes for a very big playground as far as I'm concerned. Life is
good!

Patric

Mike Rivers wrote:

In article writes:

And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.


And they are...?

Well, you got me there. I expected a chorus of "get a Y or a T or an S
or even a B" but when you come right down to it, the d8b is in a class
by itself. It has more usable inputs than anything short of a Sony
DMX-R100 or Yamaha DM2000, and those are the only ones of the lot that
have as many faders. But everything else can do 96 kHz, and none have
been around for as long as the d8b so all the bugs and kinks haven't
been discovered yet.

So like microphones, no two are enough alike that you can chose
between them based on any single parameter. You have to decide what's
important to you. I guess that anyone who grew up mixing with a mouse
would be happy with a 16-fader digital console. Anyone growing up with
a 16-channel (or larger) analog console would probably want more
faders. And nobody buying a console today wants to be limited to
48 kHz for very long.

So I guess if it floats your boat and costs less than your boat, it's
the one to get.

--
I'm really Mike Rivers - )

I have the dm-24. I looked at (lusted after the d8b but the $8000. difference went a long
way towards floating my boat. I must work in a different way and at a different level than
Jay because I just don't run up against limitations using the DM-24.

So once again it is about which tool works for which job. I'm very thankful a mixer as
comprehensive as the Tascam exists for $1999. I wonder if the $8000 extra would feel like it
was worth it if I had to pony it up now.

Just for reference, I'm using DM-24, DP 4.1, 2408II, 1ghz G4 all connected w/ TDIF. I also
have a G3 beige with OASYS and a Tascam 822 card (soon Mach 5) and a PC running Gigsmplr,
Cool Edit 2k, ACID and Snd Frg also with a Tascam 822 card so everything can be hooked to the
DM-24 through TDIF. It makes for a very big playground as far as I'm concerned. Life is
good!

Patric

Mike Rivers wrote:

In article writes:

And there are new consoles for just a little more which do
more, may even sound better, and probably have a longer service life.


And they are...?

Well, you got me there. I expected a chorus of "get a Y or a T or an S
or even a B" but when you come right down to it, the d8b is in a class
by itself. It has more usable inputs than anything short of a Sony
DMX-R100 or Yamaha DM2000, and those are the only ones of the lot that
have as many faders. But everything else can do 96 kHz, and none have
been around for as long as the d8b so all the bugs and kinks haven't
been discovered yet.

So like microphones, no two are enough alike that you can chose
between them based on any single parameter. You have to decide what's
important to you. I guess that anyone who grew up mixing with a mouse
would be happy with a 16-fader digital console. Anyone growing up with
a 16-channel (or larger) analog console would probably want more
faders. And nobody buying a console today wants to be limited to
48 kHz for very long.

So I guess if it floats your boat and costs less than your boat, it's
the one to get.

--
I'm really Mike Rivers - )

In article Patric D'Eimon writes:
I have the dm-24. I looked at (lusted after the d8b but the $8000.
difference went a long
way towards floating my boat. I must work in a different way and at a
different level than
Jay because I just don't run up against limitations using the DM-24.


We have two studios that want to be able to use DA-88(TDIF), ProTools
888(AES/EBU), 8-channel analog output, and ADAT lightpipe inputs and outputs
simultaneously. That is not possible without changing routing for each
different set of transfers. All of this can be done on the D8B, but it would
cost a lot more and take up a lot more space.

That's not likely to crop up in most environments. If you work with just DTRS
machines, for example, it's no problem. For the typical home studio setup the
DM-24 is fine and I would have bought one myself if I didn't find a used Ghost
cheap just before the DM-24 hit the market. I've recommended the DM-24 to a
couple of friends and they're very happy with it.

[snip]

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ----x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x-------- http://ccrma-www.stanford.edu/~jay/ ----------x

In article Patric D'Eimon writes:
I have the dm-24. I looked at (lusted after the d8b but the $8000.
difference went a long
way towards floating my boat. I must work in a different way and at a
different level than
Jay because I just don't run up against limitations using the DM-24.


We have two studios that want to be able to use DA-88(TDIF), ProTools
888(AES/EBU), 8-channel analog output, and ADAT lightpipe inputs and outputs
simultaneously. That is not possible without changing routing for each
different set of transfers. All of this can be done on the D8B, but it would
cost a lot more and take up a lot more space.

That's not likely to crop up in most environments. If you work with just DTRS
machines, for example, it's no problem. For the typical home studio setup the
DM-24 is fine and I would have bought one myself if I didn't find a used Ghost
cheap just before the DM-24 hit the market. I've recommended the DM-24 to a
couple of friends and they're very happy with it.

[snip]

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ----x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x-------- http://ccrma-www.stanford.edu/~jay/ ----------x

(Mike Rivers)
It has more usable inputs than anything short of a Sony
DMX-R100 or Yamaha DM2000, and those are the only ones of the lot that
have as many faders. But everything else can do 96 kHz, and none have
been around for as long as the d8b so all the bugs and kinks haven't
been discovered yet

Well the DM24 does 24/96 and you could buy 2 of them for the same price
as the Mackie. A refurbed DM24 is going right now for $1700 and new ones as
little as $2000, AND there's a free meterbridge promotion from Tascam till he
end of the year (see their website).

I guess that anyone who grew up mixing with a mouse would be happy
with a 16-fader digital console. Anyone growing up with a 16-channel (or
larger) analog console would probably want more faders.

Well like I said you could buy 2 DM24's and link them, then you'd have 32
faders. How's that?


Will Miho
NY Music & TV Audio Guy
Fox And Friends/Fox News
"The large print giveth and the small print taketh away..." Tom Waits

(Mike Rivers)
It has more usable inputs than anything short of a Sony
DMX-R100 or Yamaha DM2000, and those are the only ones of the lot that
have as many faders. But everything else can do 96 kHz, and none have
been around for as long as the d8b so all the bugs and kinks haven't
been discovered yet

Well the DM24 does 24/96 and you could buy 2 of them for the same price
as the Mackie. A refurbed DM24 is going right now for $1700 and new ones as
little as $2000, AND there's a free meterbridge promotion from Tascam till he
end of the year (see their website).

I guess that anyone who grew up mixing with a mouse would be happy
with a 16-fader digital console. Anyone growing up with a 16-channel (or
larger) analog console would probably want more faders.

Well like I said you could buy 2 DM24's and link them, then you'd have 32
faders. How's that?


Will Miho
NY Music & TV Audio Guy
Fox And Friends/Fox News
"The large print giveth and the small print taketh away..." Tom Waits

In article writes:

Well the DM24 does 24/96 and you could buy 2 of them for the same price
as the Mackie.

There's always stuff you can do, but operating two consoles as one
always has some hitches and things you need to work around. That's not
bad, but it takes some understanding of how consoles interface,
understanding that few people who only spend $1700 have. In other
words YOU could work that way, but a novice couldn't, at least not as
easily as with a single console. Two small consoles does not make one
medium sized console.

Well like I said you could buy 2 DM24's and link them, then you'd have 32
faders. How's that?

Too complicated for me to assess without having actually done it. Have
you? How did you interconnect them? How many cables? Did you eat up
any visible inputs or outputs in doing so? How about automation and
MMC? Can you set up an effect on one and console and apply it to
channels on the other?




--
I'm really Mike Rivers - )

In article writes:

Well the DM24 does 24/96 and you could buy 2 of them for the same price
as the Mackie.

There's always stuff you can do, but operating two consoles as one
always has some hitches and things you need to work around. That's not
bad, but it takes some understanding of how consoles interface,
understanding that few people who only spend $1700 have. In other
words YOU could work that way, but a novice couldn't, at least not as
easily as with a single console. Two small consoles does not make one
medium sized console.

Well like I said you could buy 2 DM24's and link them, then you'd have 32
faders. How's that?

Too complicated for me to assess without having actually done it. Have
you? How did you interconnect them? How many cables? Did you eat up
any visible inputs or outputs in doing so? How about automation and
MMC? Can you set up an effect on one and console and apply it to
channels on the other?




--
I'm really Mike Rivers - )

(Mike Rivers)

There's always stuff you can do, but operating two consoles as one always has
some hitches and things you need to work around. That's not bad, but it takes
some understanding of how consoles interface, understanding that few people who
only spend $1700 have. In other words YOU could work that way, but a novice
couldn't, at least not as easily as with a single console. Two small consoles
does not make one medium sized console.

This is true Mike. And one digital console does not an analog console
make either, I hate having to read a manual to operate a console whereas with
an analog console it's mostly right in front of you. But digital consoles have
their good points too, and being able to expand them later is one of the good
points.

Too complicated for me to assess without having actually done it. Have you?

No, I just have one. I can tell you what the 2.0 version manual says
though.

How did you interconnect them? How many cables?

To connect them you stick a cascade option card in slot one of both
machines, one cable between 'em.

Did you eat up any visible inputs or outputs in doing so? How about automation
and MMC? Can you set up an effect on one and console and apply it to channels
on the other?

Just eats up the two card slots I think. The 8 output busses can be shared
.. Any aux send can address any effects processor in either mixer. Mutes and
solos act as if it's one console, PFL, AFL and Solo In Place are set from the
Master Console. Automation is saved from the Master machine but the contents
of both machines need to be offloaded to clear the internal memory. Both
machines stereo buss, control room and studio outputs can be used
independently, so you could simultaneously set up different master mixes, one
unprocessed, one with a compressor on the buss, etc.

"Cascading two DM-24's provides:

* 32 Micpres
* 64 channels (120 inputs to st. buss w/ aux1-2 & direct to ST)
* 48 channels of TDIF I/O
* 16 Channels of Lightpipe I/O
* 4 AES/EBU 2 channel dig I/O
* 4 S/PDIF 2 channel digi I/O
* 8 Assignable Send & Returns
* 4 Internal FX Processors (2 in each)
* 33 touchsensitive faders
* The ability to run a 24 track, 24 bit 96kHz 5.1 mixing environ."


Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits

(Mike Rivers)

There's always stuff you can do, but operating two consoles as one always has
some hitches and things you need to work around. That's not bad, but it takes
some understanding of how consoles interface, understanding that few people who
only spend $1700 have. In other words YOU could work that way, but a novice
couldn't, at least not as easily as with a single console. Two small consoles
does not make one medium sized console.

This is true Mike. And one digital console does not an analog console
make either, I hate having to read a manual to operate a console whereas with
an analog console it's mostly right in front of you. But digital consoles have
their good points too, and being able to expand them later is one of the good
points.

Too complicated for me to assess without having actually done it. Have you?

No, I just have one. I can tell you what the 2.0 version manual says
though.

How did you interconnect them? How many cables?

To connect them you stick a cascade option card in slot one of both
machines, one cable between 'em.

Did you eat up any visible inputs or outputs in doing so? How about automation
and MMC? Can you set up an effect on one and console and apply it to channels
on the other?

Just eats up the two card slots I think. The 8 output busses can be shared
.. Any aux send can address any effects processor in either mixer. Mutes and
solos act as if it's one console, PFL, AFL and Solo In Place are set from the
Master Console. Automation is saved from the Master machine but the contents
of both machines need to be offloaded to clear the internal memory. Both
machines stereo buss, control room and studio outputs can be used
independently, so you could simultaneously set up different master mixes, one
unprocessed, one with a compressor on the buss, etc.

"Cascading two DM-24's provides:

* 32 Micpres
* 64 channels (120 inputs to st. buss w/ aux1-2 & direct to ST)
* 48 channels of TDIF I/O
* 16 Channels of Lightpipe I/O
* 4 AES/EBU 2 channel dig I/O
* 4 S/PDIF 2 channel digi I/O
* 8 Assignable Send & Returns
* 4 Internal FX Processors (2 in each)
* 33 touchsensitive faders
* The ability to run a 24 track, 24 bit 96kHz 5.1 mixing environ."


Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits