More channels of control

@@algrosskurth7994 is sound quality that much of a difference

@@musikman337 No, and if you use the 48 channel stage box, you get the dLive preamps anyway.

@@jamescarter8311 o ok. Nice 🙂

No, DCAs are not an audio path, they are just a fader level/Mute remote control to whatever channels are assigned to them. Whatever you do with the DCA fader gets reflected on the channel faders in relation to whatever they are set to.

@@NameNaameNameeNaamee sounds exactly like sub groups on an analog board where you have 8 drummer mics mixed down to one channel and bring the whole drum kit down in audio or mute them. Sounds like DCA does the exact same thing.

@@The300ZXGuru No, a subgroup is an audiopath and a completely different thing. On a digital desk, you have those two and you can even use them combined. A Subgroup can to a certain extend have a similar effect like changing the level of a set of channels. With a subgroup however, you are not changing the channel levels, but the level of the audiopath you routed those channels to, so a SUM of those channels. This means, that any sends that go post fader from those channels will stay exactly like they are. You could for example pull down a whole drumset by setting the drum subgroup to inifiniy, but the drum reverb would still come through the pa. This also means that if the reverb of the drums is just right wenn the sub group is set to 0dB, it will get more and more "too loud" the more you lower the subgroup fader. A Subgroup is actually not designed for this application primarily. The level adjustment on a subgroup is more tailored towards creating a bit of headroom on the master bus, so more a set and forget type of thing. It's not optimal for level management in a "mixing a show" sense. A Subgroup is rather a tool to AFFECT the channels that go into them. Since said subgroups are busses, you can process whatever goes into them. You can compress the bus, you can eq the bus. These are things you can NOT do with a DCA. However, since a DCA will remotely control the CHANNEL FADERS, it is ideal for volume management during a show. Effect sends etc. will all act according to the level you set on the DCA. Pull down the drum DCA and the verb will fade up or down with them. You can also mute channels via a DCA, but again, this is a remote control, so you will mute the channels themselves. That means you will potentially (according to your bus setup) also mute the channel sends as well. Meanwhile, a Subgroup mute will leave all channel sends open. In more modern digital consoles, a DCA can also be a workflow element, since it can be set to spill all contained channels onto the surface once you select it. This is actually a function Midas came up with many years ago. It was rather radical back then and way ahead of its time, but it slowly made its way to what we now consider pretty much standard behaviour. This can be quite a complex topic and it definitly goes beyond the scope of what I can do for you here in the comments section, but what I described is at least one relatively vivid example of how differently those two tools behave and what they can and cannot do.

@@NameNaameNameeNaamee wow thank you for the info this was very helpful and i understood everythi9ng you were saying. I get it the differences now. Thanks for taking the time to explain that

also i do like the ganging of faders together such as a 8mic drum set. that kewl to see all the flying faders bringing the whole group down

Has 128 i/o dante card option

Has 128 i/o Dante card option

Lol, mate. 9k is a steal for this type console.

with that price range you are asking for a cheaper X32

$12,500 with the plugins now, but still cheaper than any console in it's class. You need to be looking at SQ or Midas M32.

You can pick up the SQ5 for 5,000